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“The Life” Cel eb rating th e a r t s, cu l t u re, a nd s u s t a i n ab i l i t y o f t h e Hawa i i a n Is la nds For those who love life on Hawai‘i Island

November–December 2015 Nowemapa–Kēkēmapa 2015

Halema‘uma‘u Crater


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“The Life” Celebra ting the a r ts, culture, a nd susta ina bilit y of the Ha wa iia n Is la nd s

November–December 2015 Nowemapa–Kēkēmapa 2015

Art 28 Mele Murals Keauhou, part two A Canvas for Change By Fannie Narte

Business 45 Managing with Aloha: Nānā i ke kumu By Rosa Say 92 Celebrating a Long-Time Advertiser with Ke Ola HomesGroup-Hawai‘i

Health 19 Healing Plants: Kamani Tahitian tree with many benefits By Barbara Fahs

Home and Building 57 Going Green Hawai‘i Preparatory Academy reduces the schoolʻs carbon footprint By Megan Moseley

Land 12 Then & Now: Halema‘uma‘u Crater Volcanoes and Science By Alan McNarie 85 ʻTis the Season to Celebrate By Sonia R. Martinez

Music 72 The Men Who Sing for the King The Merrie Monarchs of Hulihe‘e Palace By Karen Valentine


Find yourself here.

Ocean 41 “Try Wait” Fishermen, families, and a film festival work towards a sustainable fishery at Ka‘ūpūlehu By Catherine Tarleton 71 Worldwide Voyage Hōkūle‘a has departed on the most challenging leg to date: South Africa

People 20 The Food Basket—Hawai‘i Island’s Food Bank Working to get food where it’s most needed By Paula Thomas

35 She’s a Survivor Virginia Isbell of West Hawai‘i By Karen Valentine 47 Tom Kuali‘i Superman doesn’t always wear a red cape By Denise Laitinen 64 ArtWavEs Nourishes the children

65 Lower Puna’s Historic Catholic Churches By Denise Laitinen

Spirit 11 Here Indeed is Kona, part 1 By Kumu Keala Ching

94 The Wisdom Project A Call for Spiritual Conversation By William Helbing

Departments

Featured Cover Photographer: Warren Fintz Crossword Puzzle Island Treasures Farmersʻ Markets Hawai‘i Island Happenings Community Kōkua–Volunteer Opportunities Talk Story with an Advertiser

69 79 80 83 86 88 90

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Back issues of Ke Ola available for purchase. KeOlaMagazine.com

KeOlaMagazine.com | November–December 2015

Ka Puana -- Refrain

5


Advertiser Index

Mahalo to our advertisers! By recognizing the value of Ke Ola for their marketing, they enable us to perpetuate and immortalize these inspiring stories that deserve to be shared. Please visit them (in person, online, or by phone) and thank them for providing you this copy. Without them, Ke Ola Magazine would not exist.

ACCOMODATIONS Kalani 5 Kīlauea Lodge 14

KeOlaMagazine.com | November–December 2015

ACTIVITIES, CULTURE, EVENTS Aloha Performing Arts Co. 82 ArtWavEs Nourish the Children FUNdraiser 22 Christmas in the Country at Volcano Art Center 68 Botanical World Adventures 90 Dolphin Journeys 40 FairWind Big Island Ocean Guides 70 First Fridays in Downtown Hilo 27 Hawai‘i Volcanoes National Park Tours 17 Hilo’s Black & White Night 27 Hilo Orchid Society 87 InBigIsland.com 86 Kohala Zipline 62 Kohala Grown Farm Tours 23 Kona Boys 40 Kona Choral Society’s Holiday Concerts 74 Kona Coffee Cultural Festival 7 Light up Hilo for the Holidays 27 North Kohala Farm Tours 63 Palace Theater 26 Rainbow Friends Howling Holidays Fundraiser 68 Stephanie Jongert Fine Art Exhibition 15 Waimea Ocean Film Festival 46

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ART, CRAFTS, JEWELRY Ackerman Gallery Akamai Art Supply Cindy Coats Gallery Cliff Johns Gallery Colette’s Custom Framing Don Slocum Photographic Images Dovetail Gallery & Design Dunphy Studios Gallery on the Green at Ho‘oulu Farmers’ Market Harbor Gallery & Charms of Aloha Hawaiian Dolls Hawi Gallery Art & Ukulele Holualoa Gallery Holualoa Ukulele Gallery Hula Lamps Ika Vea, Wood Carver, Polynesian instruments Isaacs Art Center (at Hawaii Preparatory Academy) Ipu Arts Plus Ipu Kane Gallery Jan Orbom Wood Sculpture Mary Ellen Clagett, Artist Mountain Gold Jewelers Pat Pearlman Designs Showcase Gallery & Beads Simple Elegance Gems

56 89 82 8 43 56 10 8 31 52 7 32 10 10 88 56 60 10 62 53 32 89 10 8 82

AUTOMOTIVE Precision Auto Repair

49

Ke Ola recognizes the use of the ‘okina [‘] or glottal stop, as one of the eight consonants of (modern) Hawaiian language; and the kahakō [ā] or macron (e.g., in place names of Hawai‘i such as Pāhoa). Ke Ola respects the individual use of these markings for names of organizations and businesses.

BEAUTY, HEALTH, NUTRITION Bailey Vein Institute Douglas Dierenfield, DDS Hawaiian Healing Yoga Teacher Certification Hawi Apothecary Intuitive Energy Medicine Island Spirit Healing Center & Day Spa Joan Greco, DDS, Oral & Maxillofacial Surgery Paradissimo Tropical Spa Primordial Sound Meditation by Marlina Lee Revive Wellness

78 75 55 62 87 15 91 24 91 30

BUILDING, CONSTRUCTION, HOME FURNISHINGS Aloha Metal Roofing 93 Colette’s Custom Framing 43 Concrete Technologies 18 dlb & Associates 93 Fireplace & Home Center 46 Habitat for Humanity ReStore 61 Hamakua Canvas Co, (Upholstery) 54 Hawaii Water Service Co. 76 Hawaii Electric Light Co. 55 Hawaiian Pizza Oven 56 Indich Collection Hawaiian Rugs 4 Mason Termite & Pest Control 80 Perry’s Painting 80 Plantation Interiors, Teak Garden & Lanai 88 SlumberWorld 14 Statements 32 Tai Lake Custom Furniture 40 Trans-Pacific Design 59 Walter’s Electric & La’akea Solar 86 Water Works 82 Will Kill Termites & Pests 86 Yurts of Hawai’i 42 BUSINESS AND PROFESSIONAL SERVICES Action Business Services 93 Ano‘ano Care Home 77 Budar Insurance 67 Hawai‘i Island Adult Care 24 Hawaii Trust & Estate Counsel 84 Ho‘oNani Day Center & Care Home 39 HomesGroup-Hawaii 59 Kona Coffee Farmers Association 53 Kona4U Property Care 87 Lee Mattingly, Attorney 77 Peace of Mind Pet & Home Care 81 Petroglyph Press 26 Shipman Self Storage 46 The UPS Store 66 Vacation House Check 58 PETS Captain’s Paw Pantry Maika‘i Veterinary Clinic, LLC Keauhou Veterinary Hospital, LLC Stop Big Island Dog Abuse

75 93 2 58

KeOlaMagazine.com Facebook.com/KeOlaMagazine Instagram.com/KeOlaMagazine LinkedIn.com/in/BarbGarcia Twitter.com/KeOlaMagazine

REAL ESTATE Cindy Griffey, RS, MacArthur & Co.|Sotheby’s Coldwell Banker-Daylum Properties Lava Rock Realty Kelly Shaw, RS, Koa Realty Kimi White, RB, Rainbow Properties Koa Realty Pacific Isle Lending Group, LLC Paradise Found Realty Roy Dollwet, RS, Savio Realty

23 81 34 96 39 10 93 93 84

RESTAURANTS AND FOOD Ahualoa Farms Mac Nuts and Coffee ‘Ai Pono Vegan Restaurant Blue Dragon Restaurant Evolution Bakery & Café Gypsea Gelato Hawaiian Crown Plantation & Chocolate Factory Hawi Farmers’ Market Hilo Coffee Mill Holukoa Gardens & Café Ho‘oulu Farmers Market K’s Drive In Kailua Candy Company Kona Coffee & Tea Kona Sweets Custom Cakes Lucy’s Taqueria Nakahara Store Peaberry & Galette South Kona Green Market Standard Bakery Sushi Rock & Trio

48 84 95 84 8 26 63 24 10 31 24 36 87 8 26 62 51 60 8 62

RETAIL AND GIFTS Aloha Kona Kids Antiques & Orchids Basially Books Cloud 9 Emporium Discovery Antiques Hands of Tibet Hawaii Marine Center Hospice of Kona’s Memory Lane Thrift Boutique Kadota’s Liquor Keauhou Shopping Center Keauhou Store Kiernan Music Kings’ Shops Kona Commons Shopping Center Kona MacNet Kona Stories Magic Garden Art Gallery & Boutique Maki Sun Mana Cards Paradise Found Boutique Parker Ranch Store Puna Kamali‘i Flowers Queens’ MarketPlace Rainbow-Jo Boutique South Kona Macadamia Nut Co. The Spoon Shop Vintage Adventure

55 76 26 43 76 48 93 44 24 50 10 8 3 54 32 51 48 56 24 51 61 67 3 26 23 84 76

TRAVEL Jet Vacation Travel Agency

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Send us your comments, letters, and photos! We take email, snail mail, submissions through our website, or posts on Facebook, LinkedIn, and Twitter! HIeditor@KeOlaMagazine.com


UA MAU KE EA O KA ‘ĀINA I KA PONO.

The life of the land is perpetuated in righteousness. [Its sustainability depends on doing what is right.] Proclamation by Kona-born King Kamehameha III in 1843. Later adopted as the Hawai‘i state motto.

Publisher, Marketing, Operations

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Editor, Art Director

Renée Robinson, 808.329.1711 x2, HIeditor@KeOlaMagazine.com

Advertising Sales, Business Development

East Hawai‘i: Peaches Grove 808.329.1711 x6, Help@KeOlaMagazine.com West Hawai‘i: Jeff Keith, 808.339.8182, Jeff@KeOlaMagazine.com Island-wide: Barbara Garcia, 808.345.2017, Barb@KeOlaMagazine.com

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Creative Design

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Advertising Production Manager

Dianne Curtis, 808.854.5868, Dianne@KeOlaMagazine.com

Advertising Design

Leslie Sears, 808.969.9419, leslie@lesismore.us Mary Strong, 808.747.2829, mary@ekahidesign.com Stephanie Schreiber, 808.315.7182, alohadigitalarts@gmail.com

Copy Editor

Farley Jones

KONA COFFEE

CULTURAL FESTIVAL Friday, Nov. 6 – Sunday, Nov.15

Proofreader

Sharon Bowling

Everyone’s invited to celebrate

Production Manager

Kona’s famous brew! 10 days of

Richard Price

Ambassadors

Fern Gavelek • Keala Ching • Mars Cavers • WavenDean Fernandes

Ke Ola is printed on recycled paper with soy-based inks. Ke Ola is a member of:

Festival fun that showcase Kona’s nearly 200-year coffee heritage, culinary delights and the working Kona coffee farmers who truly work to preserve, perpetuate and

Submit online at KeOlaMagazine.com (go to Contact menu) Community Kōkua volunteer opportunities Editorial inquiries or story ideas Request advertising rates Worldwide Delivery 808.329.1711 x4, order online at KeOlaMagazine.com, Subscribe@KeOlaMagazine, or mail name, address, and payment of $30 US/$48 Canada for one year to: PO Box 492400, Kea‘au, HI 96749. Contact us for international rates. Subscriptions and back-issues available online. © 2015, Ke Ola Publishing, Inc. All rights reserved

KeOlaMagazine.com

And with nearly 40 Festival events scheduled, there is something for every-one at the 2015 Kona Coffee Cultural Festival!

konacoffeefest.com

KeOlaMagazine.com | November–December 2015

promote Kona’s coffee harvest.

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Historic Kainaliu, Kona’s original shopping village. Located 5 miles south of Kailua-Kona.

& Made in Hawaii Fine Crafts Jewelry & Art

plus Beading Supplies

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,‘

Aloha from the Publisher Hau‘oli Lānui—Happy Holidays! How is it already the winter holiday season? Time really does seem to have sped up! We work on magazine production at least a month before each issue publishes, so here I am writing in early October, with my mind on November and December. Living at 1800’ elevation, it cools way down in the evenings during the winter, sometimes getting into the 50s, which really feels colder, as anyone who has lived here for a while knows. We’re already noticing the drop in temperature at night, and it’s lovely. Hawai‘i really does have seasons, just different than other areas of the world. During this season, we also like to take the time to reflect on the seven years since the creation of Ke Ola Magazine. It’s truly been our pleasure sharing so many inspiring stories and providing an affordable marketing platform for local businesses.

From Our Readers

✿ Dear Editor, Thank you for the great article by Denise Laitinen about the Kumukahi Lighthouse and how Pele spared it so dramatically. This is one ‘off the map’ location that I take most visitors to see. It is the best way I know to show the clear intelligence and spirit in the lava. Now I know more about it, including the name of the brave lighthouse keeper and the orchard that he planted. It is so remarkable to see lava ten feet high on the sidewalk around the lighthouse on three sides. The lava forms a kipuka, even though there is no hill or other feature to explain it. Coincidentally, this is the first and only light I saw when arriving by sailboat to Hawai‘i Island many years ago. The beacon was a source of comfort and welcome as we waited out a very long night just offshore, before entering Hilo Bay the next morning after 25 days at sea. Russell Ruderman Puna, Hawai‘i Island ✿ Aloha Renee! The article featuring my business in the latest issue of Ke Ola magazine [Talk Story with an Advertiser Sep–Oct 2015] was beautiful, thank you!! Laurie Lloyd Honomū, Hawai‘i Island

We welcome your input and feedback. You may submit a letter at KeOlaMagazine.com under the contact tab.

Aloha pumehana, Barbara Garcia, Publisher

Lava Dance by Warren Fintz See his story, page 73

From One of our Writers ✿ It has been a pleasure—a hui hou I have greatly enjoyed writing about the medicinal plants of Hawai‘i and working with the folks at Ke Ola, especially Renée Robinson, my stalwart editor, who always responds in a friendly, positive manner. My future includes plans to live in Northern California and learn more about the medicinal uses of native plants in that part of the world. I will miss Ke Ola, my readers, and especially Hawai‘i very much. Mahalo nui loa for all the great memories and experiences. Barbara Fahs Northern California From the editor: You can read Barbara’s final article on page 19. Barbara, the island and I already miss you. May you have abundant blessings and lots of happiness in your new adventures.

November–December 2015

✿ Dear Barb, I always enjoyed my visits to the islands and now that I am older your magazine helps to visit them again.   Thank you so very much for sending them. I just wanted you to know they are very special to me.  I like the historical features, the recipes, and the pictures. I really liked the staff photos! The crossword puzzle! And, the recipes! (Perhaps more recipes would be okay.) I also save each issue as the covers are beautiful. I keep them in the front room and usually anyone that visits picks up Ke Ola and asks about it. Thank you again, your magazine is wonderful and greatly appreciated.  Lois Rose Rancho Palos Verdes, CA

We live by the concept of kaizen—the Japanese philosophy of continuous improvement. Towards that goal, we recently updated our story designs, added some new writers, and are featuring more photographs on our covers than we have in the past. It’s fun to receive submissions for our covers from all over the island! This time we had more than 20 submissions of Halema‘uma‘u Crater. It was difficult to pick our favorite! In the end, we chose one of the April 2015 lava lake overflow because we speculated that many people may never have a chance to see a visible lava lake in person. Equally as beautiful are the other lava photographs featured in two different stories in this issue. I’m excited to announce a new cooperative marketing partnership we’ve created with a terrific Hawai‘i Island business. If you haven’t met the guys behind InBigIsland.com, start by checking out their website, which now features Ke Ola’s stories on their home page! Our own website is still the place to go to view the entire current and back issues. It is also where you can purchase gift subscriptions which make great holiday gifts, by the way! Now we also have a strong web presence, on a great site that offers the best in Hawai‘i Island entertainment and more! Enjoy our forty-second issue of Ke Ola! May your holidays be blessed with health and happiness.

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Here Indeed is Kona, part 1 | Na Kumu Keala Ching

‘Ākau ala kahi ‘o ‘Ānaeho‘omalu Malu ‘o Mauna Kea, Kapu o Kapala‘ao La‘i ‘o ‘Akahu Kaimu, Weliweli ‘o Pueo Keawe‘iki ka ‘iwi, ‘Ōhiki Hou a‘e I uka o Pu‘uwa‘awa‘a, aia la ‘o Pu‘uanahulu Eia la, ‘o Kona nō ia Kīholo i Wai nānā li‘i, Nā wai kūlua ‘o Manō Noho o Luahinewai, kahi ala o Ka lae manō Mahewalu o Kahuwai, Waiokāne o Ka‘ulupūlehu Kumukehu i Kūki‘o, Waiakuhi Kakapa o Pāpiha Kua o Manini ‘o Wali, Pū ia loa Eia la, ‘o Kona nō ia I Pu‘u Kū‘ili, Kahoi‘awa o ‘Awake‘e Ka wī kō hale, Pu‘u Ali‘i o Makalawena Kawili o Māhai‘ula, I uka o Hu‘ehu‘e ala Ka‘elehuluhulu, Pu‘ukala a ‘Unualoha I Kalaao, holo ‘o Ke āholehole la Eia la, ‘o Kona nō ia

I Ka ‘Iwi o Keahu‘olu, Papa o Hina Aia ka lae ‘o Keahu‘olu, Papa wai i Pāwai Kapu o Kūka‘ilimoku, Kaliliki o Kīlau‘ea Lae o Ka waha o ka ki‘i o Ka maka honu ‘Ahu ‘ula o Kai a ke Akua, malu o ka Niu Eia la ‘o Kona nō ia

Kīholo, Wainānāli‘i, Nāwaikūlua and Manō There Luahinewai is Kalaemanō Mahewalu, Kahuwai, Waiokāne of Ka‘ulupūlehu Kumukehu is Kūki‘o, Waiakuhi, Kakapa of Pāpiha Kua of Manini‘owali, upon Pūialoa Here indeed is Kona Kū‘ili is Kahoi‘awa of ‘Awake‘e Kawīkōhale is Pu‘uali‘i of Makalawena Kawili of Māhai‘ula upland is Hu‘ehu‘e Ka‘elehuluhulu, Pu‘ukala of ‘Unualoha At Kalaao, the āholehole travels Here indeed is Kona At Makako is Ho‘ona upon Keāhole Kalihi of Wawaloli within ‘O‘oma Pūhili of Kōhanaiki, a place is Wāwahiwa‘a Kāloko of Honokōhau, upon Kealakehe Nōio a place Maliu of ‘Ala‘ula Here indeed is Kona Ka ‘Iwi of Keahu‘olu is Papa o Hina At Keahu‘olu is Papawai and Pāwai Sacred Kūka‘ilimoku upon Kaliliki of Kīlau‘ea Behold Kawahaokaki‘i is Kamakahonu ‘Ahu‘ula of Kaiake Akua beyond Niumalu Here indeed is Kona

Kaulana ka inoa kō Kona ‘Ākau i ka malu o Mauna Kea a i ka la‘i o Hualālai, Eia la ‘o Kona nō ia. Ha‘aheo o ‘Ānaeho‘omalu i uku o Pu‘uanahulu ā Pu‘uwa‘awa‘a ala, I kai o Keāholehole ma uka o Kalaao. Holoholo i kai o Kōhanaiki wāwahi wa‘a o nā kānaka. I Kāloko Honokōhau kahi o Kealakehe. Aia ‘o Keahu‘olu kahi o Pāwai ala kapu o Kūka‘ilimoku, I Kamakahonu noho ka lae o Kawahaokaki‘i. Mālama ka ‘Ahu‘ula o ‘Umi kai a ke Akua, pili i ka malu o ka niu. Eia la ‘o Kona nō ia. Famous are the names of North Kona under Mauna Kea until the calmness of Hualālai, Here indeed is Kona. Proud is ‘Ānaeho‘omalu uplands Pu‘uanahulu and Pu‘uwa‘awa‘a until Keāholehole lands of Kalaao. Travel to Kōhanaiki where canoes are created. At Kāloko Honokōhau is Kealakehe. Keahu‘olu a place of Pāwai, sacred is Kūka‘ilimoku beyond Kamakahonu is Kawahaokaki‘i. Enlightened is ‘Ahu‘ula of ‘Umi upon the seas of Akua, close to Niumalu. Here indeed is Kona!

KeOlaMagazine.com | November–December 2015

I Maka ko Ho‘ona, wahi o Ke āhole Ma Kalihi o Wawaloli, I uka o ‘O‘oma I Pūhili kai o Kōhanaiki, Lae o Wāwahi wa‘a Ma Kāloko o Honokōhau, kahi o Kealakehe I Nōio wahi Maliu ‘o ‘Ala ‘ula la Eia la ‘o Kona nō ia

Far North is ‘Ānaeho‘omalu Beyond Mauna Kea, sacred is Kapala‘ao Calm ‘Akahu Kaimu, Honored Pueo From Keawe‘iki, Ka‘iwi to ‘Ōhiki Hou Upward Pu‘uwa‘awa‘a and Pu‘uanahulu Here indeed is Kona

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T H E N

photo courtesy USGS/Mark Wasser

&

N O W :

photo courtesy USGS/Dow

photo courtesy USGS/David Boyle

Halema‘uma‘u Crater Volcanoes

and

Science

| By Alan McNarie

Moonbow Over Jagger photo courtesy Don Slocum DonSlocum.com Instagram.com/donhawaii Facebook.com/donslocum

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Hawai‘i Island’s tourist industry got a big boost last spring when Madame Pele chose to peep out of the windows of her home. Lava rose for a few weeks in the pit of Halema‘uma‘u Crater, at the summit of Kīlauea, such that we could actually see it from the summit overlook at Jaggar Museum. This was the closest that visitors have been allowed to approach the crater since an active summit eruption began there in 2008. The “red stuff” overflowed from the pit-within-a-pit where it had been hiding and surged across the crater floor, while at the same time low fountains spouted from between drifting plates of newborn black stone. It was, as volcanologist Matt Patrick noted, “A great opportunity for the public to safely see the Matt Patrick lake,” the first such a time in this century. Although the lava has since subsided and visitors can currently see only an indirect glow, the summit eruption continues and may flare up again. Meanwhile, Matt and his fellow scientists at the US Geological Survey’s Hawaiian Volcano Observatory continue to monitor the pit’s still-bubbling lava lake through cameras in custom-built plastic cases (“If you buy an off-the-shelf camera enclosure, it’s usually made out of metal, which doesn’t work well on a volcano,” he observes; “The sulfuric acid from the eruption quickly eats holes in them.”) The scientists also monitor an array of hypersensitive electronic instruments, many of which

were either invented or first adapted for volcanological use on Hawai‘i Volcano Observatory. While this spring’s phenomenon was unusual for the 21st Century, it had been the norm for extensive periods of the past. For most or all of the 19th Century and the first 24 years of the 20th Century, lava bubbled continuously from the floor of Kīlauea Caldera. That long volcanic event shaped our modern view of volcanoes worldwide: it was the first eruption in human history to be continuously scientifically studied. Halema‘uma‘u, the traditional home of the Hawaiian volcano goddess Pele, became the birthplace of the modern study of Volcanology. “If that [lava] lake hadn’t been here, we wouldn’t be here today,” notes Don Swanson, another volcanologist at the USGS’s Jaggar Volcano Observatory, headquartered next to the museum. The earliest roots, however, of what became Don Swanson the Hawaiian Volcano Observatory might be traced to another volcano, coincidentally named Mont Pelee (“Pelee” in French, means “bald”) far away on the island of Martinique in the West Indies. In 1902, a pyroclastic (hot ash and gas) flow from Pelee had buried the city of St. Pierre and killed an estimated 30,000 people. The event left only three known survivors: a prisoner who survived because his stone jail cell was

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Halema‘uma‘u, 1893 photo courtesy USGS/Bertram

KeOlaMagazine.com | November–December 2015

too poorly ventilated to admit the hot ash, a shoemaker on the edge of the flow who suffered severe burns, and a young girl who managed to paddle out to sea. A Massachusetts Institute of Technology geologist named Thomas A. Jaggar, Jr. participated in an expedition to record the aftermath of the Martinique catastrophe. Jaggar was “appalled by what he saw, and dedicated his life to learning about volcanoes in order to preserve life,” says Don. Jaggar later came to Hawai‘i Island and gave a lecture that included an account of his Martinique experiences. Inspired by his talk, some local residents formed Hawaiian Volcano Research Association (HVRA), with a Latin motto that translated roughly as “Let no more cities be destroyed.” “Before the 20th Century, most studies of volcanoes were conducted during short-lived expeditions,” such as the one to Martinique, notes a USGS publication called Eruptions of Hawaiian Volcanoes—Past Present and Future, which Don

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photo courtesy Warren Fintz EppixAdventures.com


Margaret Boles, daughter of Thomas Boles, who was Superintendent of Hawai‘i National Park (as it was called in 1924) photo courtesy James Tsuchiya Family

KeOlaMagazine.com | November–December 2015

co-authored. Thomas Jaggar “...was not satisfied with that approach. He recognized that, to understand volcanoes fully, one must study them continuously before, during and after eruptions.” “In 1912, with support from the HVRA and the Whitney Fund of MIT, Jaggar established the Hawaiian Volcano Observatory (HVO) to study the activity of Mauna Loa and Kīlauea on a permanent, scientific basis,” recounts Eruptions of Hawaiian Volcanoes. “‘Volcanology’ emerged as a modern science with the founding of HVO.” It was a risky career move for Jaggar; he was abandoning his tenured professorship at MIT to head up this new undertaking. Volcanology has always involved a certain amount of risk-taking in the name of improving public safety. Of course, what made Hawai‘i ideal for Jaggar’s purposes was the summit eruption in Halema‘uma‘u. This had been going on since at least 1823, when the missionary William Ellis became the first person of European ancestry to reach the volcano’s summit. Ellis had noted “an immense gulf” dotted with several lava lakes and 51 cinder cones. In the 189 years between Ellis’ journey and Jaggar’s arrival, many other visitors had left their own accounts of the eruption. Among the most famous were Isabella Bird and Samuel Clemens (Mark Twain), who arrived in 1866, shortly after the original Volcano House Hotel, a literal grass shack, had been expanded into what he called a “Neat, roomy, well furnished and well kept hotel.” “The surprise of finding a good hotel at such an outlandish spot startled me, considerably more than the volcano did.” Writing as a correspondent for the Sacramento Union, Twain described two separate lakes of lava bubbling on the floor of the caldera: “The greater part of the vast floor of the desert under us was as black as ink, and apparently smooth and level; but over a mile square of it was ringed and streaked and striped with a thousand branching streams of liquid and gorgeously brilliant fire! It looked like a colossal railroad map of the State of Massachusetts done in chain lightning on a midnight sky,” he wrote. “Through the glasses, the little fountains scattered about looked very beautiful. They boiled, and coughed, and spluttered, and discharged sprays of stringy red fire—of about the consistency of mush, for instance—from ten to fifteen feet into the air, along with a shower of brilliant white sparks—a quaint and unnatural mingling of gouts of blood and snowflakes!” Isabella Bird, one of the most intrepid world travelers of the century, records her 1873 visit to Hawai‘i in a book entitled Six Months in the Sandwich Islands. Like Mark Twain, she found

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Heart of Fire

November–December 2015

photo courtesy Keoni Willamson Instagram.com/onimon88 Facebook.com/keoni.williamson

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two lava lakes. Where Mark Twains’s are dotted with words like “beauty” and “gorgeous” Bird’s account sounds hellish and harrowing, full of phrases such as “lurid, gory, molten, raging, sulphurous, tormented masses of matter.” And in her explorations, she took risks that would make a modern park ranger blanch. On one visit to the crater, for instance, she and her companion, an amateur geologist named Green, left their reluctant guide behind and repeatedly jumped over a smoking fissure to reach a shelf over one of the lakes. “Mr. Green, in his

scientific zeal, crossed the crack, telling me not to follow him, but presently in his absorption with what he saw, called me to come, and I jumped across, and this remained our perilous standpoint,” she wrote. “Burned, singed, stifled, blinded, only able to stand on one foot at a time, jumping back across the fissure every two or three minutes to escape an unendurable whiff of heat and sulphurous stench, or when splitting sounds below threatened the corruption of the ledge: lured as often back by the fascination of the horrors below; so we spent three hours.”


At the time of their visits, Don notes, “There was no regulation at all,” of the visitor industry. “The national park hadn’t been founded. When Volcano House was founded, they trumpeted visits to the lava lake, because that was how they got business.” Sometime after Isabella Bird’s visit, the northern lava lake disappeared. The southern one probably became what is now known as Halema‘uma‘u. It was still steaming away when Thomas and his team arrived to stay. While the visitors before Thomas Jaggar were not usually scientists, and while their descriptions were colored with their own personalities, their published accounts and their entries in Volcano House’s guest books contain, as Don notes, a lot of “good information” that has benefitted the scientists who followed. They’ve gotten still more from earlier historic accounts and Hawaiian traditions; they know, for instance, that in 1790, an explosive eruption wiped out the army of a Ka‘ū chieftain named Keōua, paving the way for his rival Kamehameha’s becoming Hawai‘i’s first king. Additionally, the scientists have gleaned even more information from the ground itself. Ash and lava layers, lava bombs and pele’s hair—fine strands of volcanic glass—all provide geologic evidence of various eruptions at various times. Charcoal from burned forests can be Carbon-14 dated, giving scientists the approximate times when lava set them afire. The further back in time, the vaguer the picture becomes—“We can’t do a very good job beyond 2,500–3,000 years ago,” Don notes. The evidence has painted a broad picture of the volcano’s activities over the centuries. And in the long term that picture can be a little alarming. “The past is the key to the future, I think,” says Don. “Eventually, what’s going to happen is that the lava lake will disappear, the floor of the caldera will collapse again, and we’ll enter into an extended period of explosive activity. Periods like we’re in now can last for centuries…this is the kind of activity that builds the volcano.” He says, “The geologic work that we do shows that these periods will end.” When the current period does end, the volcano may behave more like it did in 1790—or in 1924. That’s the year when that previous long summit eruption ended. Don believes it was also the first year in modern times

when somebody actually died in Kīlauea Caldera. As of 1924, the observatory had been in existence for a dozen years. The volcanologists’ instruments, crude though some were, allowed them for the first time to track changes all over the mountain and connect the dots: first, the lava lake at Halemau‘ma‘u began draining; then on April 21, 1924, at the land far downhill in Kapoho, on the Puna Coast, the volcano’s crust began to swell, accompanied by swarms of earthquakes. This allowed the scientists to guess where the missing lava had gone. Then, as the level of lava in the summit crater fell below the water table, the scary part began: a series of increasingly powerful steam explosions hurled huge boulders as if they were toys. According to the Hawaiian Volcano Obsevatory’s journal, however, scientists and a few adventurous visitors, including such VIPs as Lorin A.Thurston, continued to visit the caldera between explosions even though they couldn’t predict when the next explosion would occur. One such event caught several people out in the crater—including a Pāhala resident named Truman Taylor, when his legs were crushed by a boulder and who subsequently died in Hilo. He became Kīlauea’s first modern-era fatality. Scientists thus learned one of nature’s ironies: a volcano can actually be at its most dangerous when its lava levels drop. That’s when steam explosions such as the one that killed Taylor and pyroclastic flows such as the one that eradicated St. Pierre can occur. And according to Don, the best data that the scientists have amassed show that while Hawai‘i has gone through long periods when Kīlauea was full of lava, it has also gone through

May 1924 Halema‘uma‘u explosive eruption. photo courtesy James Tsuchiya Family

November–December 2015

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Don collecting tephra samples downwind of Halema‘uma‘u, 2008. photo courtesy USGS

early tiltmeters that HVO scientists pioneered, measuring the differing levels in water containers linked with hoses in order to detect deformations of the volcano’s crust (and hence the movement of lava beneath it). All of which brings the volcanologists just a little closer to that goal set forth by the that group of Hawai‘i Island citizens more than a century ago, when they backed a maverick geologist’s dream of a volcano observatory. Although cities may yet be destroyed by volcanoes, with all the new technology we can be hopeful fewer people will die in them. ❖ Contact Hawai‘i Volcanoes National Park: 808.985.6000, NPS.gov/havo/index.htm

KeOlaMagazine.com | November–December 2015

Contact writer Alan D. McNarie: amcnarie@yahoo.com

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long periods when lava levels were a dangerous fraction of what they are now. During such a period, he notes, “Pyroclastic surges could reach into Volcano Village…. You don’t need to expect that a surge will happen within a week or two—that would be very unlikely. But eventually, it will become likely.” The good news is that, thanks to the information they have amassed, scientists can better predict when those dangerous times are about to arrive. Don even has a rough trigger number: to start a new explosive period, he says, lava would have to drop “about 450 meters” from its current level. The new lava lake in Halema‘ma‘u is helping the volcanologists refine that knowledge even further. For the first time in modern history, Matt observes, a flank eruption and summit eruption are occurring simultaneously, allowing volcanologists to correlate the rises and falls of the summit lava lake. They now know that the lava arrives there first, with later eruptive activity downslope at Pu‘u ‘Ō‘ō. They’re able to map and predict the volcano’s behavior with increasing detail. Also, the new summit eruption is being measured with a whole new generation of exquisitely fine-tuned instruments: everything from new GPS and satellite radar systems, to electronic tiltmeters so sensitive that they have to be “de-tuned” so they won’t pick up shifts of the earth caused by the moon’s gravity. Matt and his fellow volcanologists are watching every rise and fall of the lava lake not only with optical cameras, but also with near-infrared cameras that can peer through smoke and mists. It’s all a far cry from the crude

Sunrise glow at Jaggar Museum photo courtesy USGS/Janice Wei


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he Internet is full of sites that tout the healing benefits of “tamanu” oil. This nut tree, which is native to the South Pacific islands around Tahiti, is also present in Hawai‘i where it is known as kamani. The forward-thinking Polynesians who first settled our islands introduced it because it was important to them both as lamp oil and as an aid in healing the skin.

Healing Plants: Kamani

Tahitian tree with many benefits |

What is the Kamani Tree?

Kamani (Calophyllum inophyllum) is also called Alexandrian laurel and is related to the mangosteen (Garcinia mangostana). Both of these trees belong to the Clusiaceae family, which also includes the invasive autograph tree (Clusia rosea). Although kamani trees with their three-to-eight inch long leathery leaves resemble this undesirable plant, the kamani is not listed as invasive by the Hawai‘i Ecosystems at Risk Weed Risk Assessment. Today, kamani trees continue to offer shade, food, and medicinal benefits.

Where Kamani Grows

Known as the “tree of a thousand virtues,” kamani trees grow well at low elevations and can tolerate salt spray and salty soil. Many kamani trees grow in East Hawai‘i, along the sides of the Old Government Road that connects Hawaiian Paradise Park with Hawaiian Beaches, indicating that ancient villages existed thereabouts.

Practical Uses

Medical Uses

The oil that has been extracted from kamani trees is similar to kukui nut oil. It is a light, pleasant-smelling oil that burns well in lamps and also helps to promote the healing of many different types of skin wounds and diseases. If you want to try some, it’s simple to make kamani oil at home. This is how: • Use nuts that sink in water. • Place them on a hard surface, such as a large, flat lava rock, and then crack them with a hammer

photos courtesy Forest and Kim Starr

• Remove the nutmeat and place it in a baking pan. • Heat your oven to 450˚F then bake for 15 minutes. • Let the nutmeat cool, mash it, and place it in a glass jar. • Place the jar in the sun for about two days. • Pour off the oil as desired. • Keep the oil in your refrigerator and allow small amounts to reach room temperature before using it. • To prevent the oil from becoming rancid, add five drops of grapefruit seed extract and two drops of vitamin E oil to each ounce of oil.

Growing a Kamani Tree

This slow growing tree can grow as tall as 60 feet, and like many other nut trees it can sprout numerous keiki trees in its vicinity when the nuts are not harvested or eaten by rats and pigs. Kamani trees can tolerate some shade, so if you live in a sunny area, keep this in mind. According to Future Forests Nursery, kamani trees prefer sandy soil and an elevation from sea level to 1500 feet, but will also do well in clay or rocky soil. To start a new tree, gather several nuts from an existing tree. Soak them in water overnight to hasten germination and then plant one nut in a one-gallon pot filled with potting soil. Keep your pot or pots in a sunny spot and keep the soil evenly moist until germination occurs—be patient, as this can take some time. When seedlings are at least one foot tall, transplant to an area with plenty of space, since the root system of a mature tree can spread as wide as the mature canopy. Kamani trees are resistant to most insect pests and plant diseases. To ensure continued growth and health of your tree, mulch around it with compost. Contact writer Barbara Fahs: bfahs68@gmail.com References/Sources Mahalo to David Bruce Leonard for sharing this method of extracting oil from nuts from his book, Medicine at Your Feet. EN.wikipedia.org/wiki/Purple_mangosteen Instanthawaii.com/cgi-bin/hawaii?Plants.sigtree Canoeplants.com/kamani.html Botany.hawaii.edu/faculty/daehler/wra/full_table.asp.html Forestnursery.com/pricelist.html#Anchor-CALOPHYLLUM-45648 Pbio209.pbworks.com/w/page/11342381/Clark,%20B%20-%20 Kamani%20tree

KeOlaMagazine.com | November–December 2015

The kamani tree has many uses—its strong timber, which boat builders of former times used for hulls and keels, and its nuts, which were used for lamp oil, skin problems, and massage. The kamani tree has characteristics that would make it a positive addition to the landscapes of modern homeowners. The reddish-brown hardwood that kamani trees produce has been widely used for such items as canoes, houses, and pā kamani, which include bowls and trays used for food. Like milo and kou wood, kamani wood was favored for use with food because it does not impart any unpleasant odor or flavor. Hawaiian residents of a former era extracted a dye from kamani nuts, which they used to dye kapa cloth a brown shade. The small, one-inch flowers have golden yellow stamens and a pink pistil. They smell much like orange blossoms and were used in lei and to give kapa cloth a fragrance.

By Barbara Fahs

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KeOlaMagazine.com | November–December 2015


The Food Basket — Hawai‘i Island’s Food Bank WORKING TO GET FOOD WHERE IT’S MOST NEEDED | By Paula Thomas

O

“So what we are doing at The Food Basket is not new in terms of food sharing,” En explains. “The Food Basket acts as a conduit for people who have to share, with those who do not.”

Tuesday is a big day because it is distribution day for the Senior Farmers’ Market Nutrition Program (SFMNP/Senior Produce). The Hilo Civic Center is one of several venues for this. Sometimes it’s the Hilo Tennis Stadium. There, prepackaged, fresh-from-the-farm produce is lined up: Bags of tomatoes and onions, boxes of mushrooms, cucumbers and papaya by the piece, and bunches of bananas. Whatever is ready for harvest from specific farms in any given week gets plucked, packaged, and placed into the canvas bags of the beneficiaries; in fact, some 1500 senior citizens benefit from the grant that makes this program possible. To boot, volunteers from the Retired Senior Volunteer Program (RSVP) do the actual doling out of the fresh produce. The personpower required to move all this food and distribute it is a lot to orchestrate, and the efficiency of the operation is impressive. One grantee volunteered that her sister doesn’t usually buy fresh produce at the market, so when this produce comes into the house, she’ll taste things she’s never tried before. For most others, the Tuesday events are a chance to socialize with friends, sample food made using the local ingredients, share recipes, and secure a nutritious bundle for the rest of the week. It’s a true godsend. “da Box”, or “Ho‘olaha Ka Hua”, is an island-wide Community Supported Agriculture (CSA) program that can benefit all participants. Within the CSA, more than 45 farmers provide fresh produce. Boxes of 5–9 different types of in-season fruits and vegetables are delivered to local sites all over the island once a week for a ten-week period. The boxes are sold at a competitive price that is tiered for income level. The farmers get paid in advance, so the money collected at distribution goes toward the next purchases from the farmers. While very successful, the “da Box” program would have more impact if there were at least 1,000 people being served instead of the current 300. The economies of scale would bring the cost of “da Box” down for everyone and supply more households. Getting more people to participate is a high priority. Perhaps the biggest challenge facing The Food Basket relates to transportation. The strategy to get food out to the community means having working vans and trucks, and enough of them. The costs associated with replacing vans or expanding the fleet are not provided for in the annual operating budget.

KeOlaMagazine.com | November–December 2015

n Tuesday mornings, The Food Basket Hilo headquarters is abuzz with traffic: cars, trucks and vans pulling in to deliver fresh produce and canned goods, and people and agencies arriving to purchase. As Kristin Frost Albrecht, Director of Public Relations and Events, puts it: “Tuesdays are really what The Food Basket is all about, a direct connection between farm fresh food (and canned goods) and islanders who are impoverished; and the farm-to-table access for people who want more fresh fruits and vegetables.” Executive Director En Young seems a beautiful fit as The Food Basket’s leader with his quiet intelligence, a deep caring for the communities he serves, a grounding in the island’s social, cultural and economic history, and a managerial style that keeps staff together as family. He works tirelessly. Organizations like The Food Basket cannot come close to meeting their mandate without community support in the form of grants, donations, volunteers, and partnerships with other nonprofits, community groups, churches, and the local/federal government. All these interfaces are in place and yet, as one might expect, there is much room for growth and development. The mission is pretty straightforward: to feed the hungry in Hawai‘i County while attending to the root causes of this critical social problem. To deliver on this means addressing a complex array of issues, transportation being a big one, that go to the very roots of poverty. At the end of the day, says En, “The success story is really how the community can feed itself.” In The Food Basket’s favor is the fact that Hawai‘i has a long history of food sharing. “What we are doing at The Food Basket is not new in terms of food sharing,” En explains. “The Food Basket acts as a conduit for people who have, to share with those who do not.” The primary focus is on moving food out to the people who need it. This distributive mission is reflected in many of the programs, including both the new CSA “da Box” program that has a SNAP/EBT (food stamps) incentive price in addition to a retail price, and the USDA Program for seniors. All in all, some 12,000 people per month benefit from The Food Basket’s outreach.

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Partnerships are therefore critical, as are government sources of support. “However,” notes En, “the [federal] government funding we receive is only 15% of our overall budget, although most people think the percentage is much higher. We get support from the County, too, but most of our funding comes from grants and private donations. We leverage our programs through our partnerships with organizations like the Kohala Center, the Agricultural Extension Service, the Weinberg Friends Program, and community service groups like Rotary and Lions. The Food Basket’s website provides a wealth of information about its programs and how to participate in them. It also illuminates some of the island’s poverty issues. It reports, for example, that two out of three children in Hawai‘i Island schools are on free or reduced lunch. To address this, the “We Got Your Back” program issues supplemental nutrition bags to eligible school children for long weekends and holidays. At The Food Basket there is no lack of effort or creativity when it comes to moving food out to those in need. En and his staff continue to look at existing systems they can tap into to expand their reach. In addition to the food pantries, soup kitchens, the DOE, and community centers, staff are looking at the structures used, for example, by Civil Defense to see how food distribution channels can be extended even further into the community. There is also no lack of creativity on the part of community groups when it comes to supporting The Food Basket with donations. This, in fact, can even be problematic. Scores of unsolicited drives for The Food Basket take place throughout the year, with the best of intentions. However, “The community needs to coordinate needs and resources,” says En. When there is no coordination, The Food Basket gets items that don’t fill gaps in inventory, or may not be in line with what is needed at the time. “It would be so much more beneficial for everyone,” says En, “if people would contact us first, before they do a drive, and ask us what needs we see.” Working together in a strategic way, by sharing information and collaborating on many levels, we can all support the mission to put Hawai‘i Island where it belongs, at the forefront of our state’s agricultural sector and the model for sustainable living. ❖ Contact The Food Basket: 808.933.6030, HawaiiFoodBasket.org

KeOlaMagazine.com | November–December 2015

Sign up for “da Box”: HawaiiFoodBasket.org/get-your-box

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Contact writer Paula Thomas: paula@delphipacific.com


KeOlaMagazine.com | November–December 2015

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KeOlaMagazine.com | November–December 2015

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Mele Murals Keauhou part two

A Canvas for Change | By Fannie Narte

KeOlaMagazine.com | November–December 2015

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stria Miyashiro, founder of The Estria Foundation, a nonprofit corporation based in Honolulu, and Mahea Akau, Mele Murals Coordinator, are transforming Hawai‘i’s visual landscape through a public art movement called “Mele Murals.” Mele Murals advances the ideals and spirit of the Hawaiian culture through the creation of a series of large-scale murals inspired by mele (songs) and na mo‘olelo (stories) of Hawai‘i. It is a project which focuses on Hawaiian youth. The Mele Murals presented in this article complete our spotlighting of the seven panels located at the Keauhou Shopping Center in Kona, Hawai‘i Island. The stories of the other three panels were previously presented in our September–October 2015 issue, on page 25. The Team of Participants “Mele Murals bring people from different schools or communities together to bond and learn about our history,” says Rose Salumbides, a student at Kanu o Ka ‘Āina (Kanu) in Waimea, Hawai‘i Island. The Mele Murals project involves youth from local programs and schools, including Hawaiian-focused charter schools. The ‘ōpio (youth) are involved in every step of the mural-making

process, from securing a wall, to collaborating on a design, to creating the mural and celebrating its completion. A team of teachers such as lead teacher Kumu ‘Ilikea Kam from Ke Kula ‘o ‘Ehunuikaimalino (KKOE), Kumu Kanoa Castro of Ho‘ala Arts (the Mele Murals club from Kanu), and a team of cultural practitioners, resources, and organizations such as Kumu Keala Ching, Tava Taupu, and Na Kalai Wa‘a have been instrumental in sharing the stories and the meaning and significance of the songs and chants in the four paintings featured in this article. In addition, Estria, John “Prime” Hina III, Founder and Director of 808 Urban, a Hawaiian nonprofit arts organization, and a team of local artists guided the participating ‘ōpio in taking their vision from paper to the wall. A project as enormous as Mele Murals requires many who work behind the scenes to move the work forward. Such persons are crucial supporters, members of the community, and parents of the participating students. The Four Mele Murals Keliko Hurley, a student from Kanu said, “These walls tell stories about how life was in Wa Kahiko (ancient times). Some of the walls represent gods and some represent the values of


Kauikeaouli — by Estria Miyashiro

Kumu ‘Ilikea provided the following descriptions of the four panels, which includes comments by the participating ‘ōpio. Kauikeaouli From pō (darkness) comes life. Keauhou is the birthplace of Kauikeaouli, Kamehameha III. This panel portrays the life force returning to the stillborn body of Kauikeaouli. A mo‘olelo was shared with the participating ‘ōpio. It describes a crowd gathering around the deceased infant’s body, and a crazy old man, dressed in his malo (loincloth), appearing at the scene. This man told everyone that the infant was not dead and that he was only asleep. He then poured fresh spring water on the infant’s head. As the man was pouring the water, the infant’s body came back to life.

KeOlaMagazine.com | November–December 2015

living the Hawaiian life. These walls remind us of how important it is to look to our surroundings for guidance and also to look for ho‘ailona (symbols). These walls will forever hold the history and stories of the values that give us knowledge.” Kauikeaouli, Kaneaka, The Battle of Kuamo‘o, and Wa‘a, the titles of the collection of four panels to the right of the entrance of the Regal Keauhou Stadium 7 Movie Theater at the Keauhou Shopping Center, represent pono (harmony and balance). The Hawaiian perspective of harmony and balance is that which is in heaven is also on earth, and what is on land is balanced by its counterpart in the ocean. Kumu ‘Ilikea says, “To be pono is to be connected in harmony with na lani (the heavens), na kūpuna (our ancestors), na ‘aumakua (our guardians), ke akua (the supreme), ka ‘āina (the land), and kanaka (the people).”

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Spirits are known to reside within Papahulilani (realm of the heavens) before they enter into Papahulihonua (realm of the earth). “The hands in this panel are the hands of our kūpuna,” says Nainoa Alefaio, a student at KKOE, “kūpuna who carried the life force and spirit back into infant Kauikeaouli’s lifeless body.” The lightning is a symbol of Kāne (a Hawaiian God). The lightning shown in the panel represents Kāne’s fingertips reaching out to the infant in affirmation of life as Ka wai ola a Kāne, the life-giving waters of Kāne. The ripples within these waters represent the great work Kauikeaouli accomplished for our people within his lifetime. “Kauikeaouli and his decisions played a big role in Hawaiian history,” says Malie Sarsona, a student at Kanu. “During his time, many changes came to Hawai‘i. The Great Mahele and the first overthrow of the government are two of them. When the Hawaiian government was restored after being overthrown for

November–December 2015

Kaneaka — by Estria Miyashiro

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the first time, Kauikeaouli held a ceremony for Admiral Richard Thomas, the one who restored the nation. In a speech he gave in Kawaiaha‘o Church, Kauikeaouli said: ‘Ua mau ke ea o ka ‘āina i ka pono.’ It is usually translated as, ‘The life of the land is perpetuated in righteousness.’ However, it can also be translated as ‘The sovereignty of the land is perpetuated in righteousness.’” Kaneaka “Kaneaka was the mural I personally worked with,” says ‘Aukai Adams, a student at KKOE. “Kaneaka is the name of the hōlua (sled) slide that King Kamehameha I built for his son.” This panel is a depiction of an old Hawaiian tradition in which kūpuna (ali‘i) would race each other to shore; one would start at the top of the mountain and slide down on the sled while a surfer would ride a wave to shore. The first to reach the shoreline would be crowned the winner. “I was a part of the group who created the Kaneaka panel,” says Luca Vartic, another student from KKOE. “This painting represents balance in our lives, the balance between the land and sea, including their relationship and importance to one another. It takes balance and skill to ride the hōlua sled and the surfboard effectively in order to be successful in the race,” says Luca. “We can connect this to our lives and how we need balance in order to thrive and live comfortably.” Included on this panel is a portion of the Kumulipo, our Hawaiian creation chant, that recounts that from darkness comes life in the form of kāne (man) and wahine (woman).


The Battle of Kuamo‘o — by Estria Miyashiro, Miho Mironue, Lindsay Lander

“Kumulipo” O ka lipo o ka la O ka lipo o ka po Po wale ho‘i hanau ka po Hanau Kumulipo i ka po he kane Hanau po‘ele i ka po he wahine The Battle of Kuamo‘o “This mural shows Kuamo‘o, after the unforgettable battle that occurred in Keauhou,” says ‘Aukai. “The battle took place right down the road from Keauhou Shopping Center at Kuamo‘o,” says Luca, “so the location of the murals is very fitting.” Lekeleke, south of Keauhou, is the site of this symbolic battle. This battle signified Hawai‘i’s transition into Westernization and the demise of the Kapu System—Hawai‘i’s primary religion for over a thousand years. The opposing armies in this battle were both led by heirs to Kamehameha I. Kekuaokalani was in favor of perpetuating the Kapu System while Liholiho (Kamehameha II) believed the Kapu System no longer had a place in Hawai‘i’s governance. The Battle of Kuamo‘o ended with hundreds of kanaka falling to their death with Liholiho as the victor. The fallen were entombed with unmarked lava rocks to signify that everyone was equal—regardless of their beliefs. Depicted in the painting are “the graves of the soldiers who fell in combat,” says ‘Aukai. In addition, the painting shows “the

landscape of Hualālai, the lava flowing down to the ocean, and King Kamehameha, and other Hawaiians behind him.” The history of the Battle of Kuamo‘o includes the famous love story of Kekuaokalani and his wife Manono. Manono proved her loyalty to her husband by continuing to fight after his death. Manono was credited with slaying twenty koa (warriors) before falling to her own death beside her husband. In this panel, “we see Manono, the great Wahine Koa, looking back at us,” says ‘Aukai. “In one hand she has a spear, and in the other she is holding her piko (navel, center), which connects us to our ancestors, and others who came before us.” Kekuaokalani’s spirit is shown here as the ‘alalā bird (Hawaiian crow) who was said to deliver the war cry. ‘Aukai explained, “The ‘alalā was said to make a deep “yelling” sound that could be heard from far away. Kekuaokalani was compared to the ‘alalā for his war cries that instilled fear in his enemies.”

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KeOlaMagazine.com | November–December 2015


Wa‘a — by Estria Miyashiro, Miho Mironue, Lindsay Lander

This mural is a tribute to all who have died in the name of Hawai‘i becoming prosperous as a nation. The mele, Kulāiwi, is by Hawaiian song writer, Larry Kauanoe Kimura. The lyrics of this mele resonate with the actions of Manono at Kuamo‘o: “I live for, and because of, my people, a native right and privilege.” “Kulāiwi” E ola au i ku‘u lāhui He kuleana o ka ‘ōiwi

“Keauhou is the birthplace of chiefs and the birthplace of battles that changed Hawaiian history,” says Malie. “It is a very powerful place, and with power comes responsibility. These stories must be told so the next generations know what to do and what not to do.” Estria, Mahea, and their large team of participants and supporters in the Mele Murals projects are documenting Hawaiian history in a creative and unique way. These murals are transforming Hawai‘i’s visual landscape. They are canvases for change bringing our nation forward—one mural at a time. ❖ Contact The Estria Foundation and Mele Murals: Estria.org Contact writer Fannie Narte: info@fannienarte.com

KeOlaMagazine.com | November–December 2015

Wa‘a This painting is the last panel and brings us back full circle to pō or night. The double hull wa‘a (canoe) represents balance and forward progress. The canoe represented here is Mauloa, a single-hull fishing canoe born in 1991. Mauloa was built by Nā Kālai Wa‘a, a group of Hawai‘i island canoe carvers. Their vision was to build from materials found on-island a canoe utilizing the traditional knowledge of our kūpuna with the help of master sailor and navigator Mau Piailug of Satawal. Malie says, “In the background, you can see Hualālai and the beam going up to the heavens connecting it to the gods themselves.” The light beam is a ho‘ailona for us to always look to the future, looking to the mauna, our piko aligned with the zenith. “The ripples represent the impact we, as individuals, can make with the knowledge received from our kūpuna.” In addition, Malie says, “The ripples in the water represent the effect that leaders have upon the people and how decisions of the past still affect the present.” The lightning in this mural represents the fingertip of Kāne, calling us to do the work needed to sustain the generations to come. Ua Ao Hawai‘i is another mele written by Larry Kimura

that reminds us that “with the rising of each new day, knowledge from our ancestors and knowledge from today can be ours if we want it, to make tomorrow even better.” “Ua Ao Hawai‘i” Kau e ka wena o ke ao i ka lani He wekeweke i ka pō pilipuka He ‘elele o ka poniponi hikina Kau ke kāhe‘a wana‘ao i ka ‘āla‘apapa La‘i ana i luna o ke kūkulu o ka lani lā ‘O ka‘u ia e huli alo ne i ka ulu ē ‘Ae, ua ao ē

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Former Hawai‘i State Representive Virginia Isbell carries a conch shell in her car to be ready at any moment to blow the pū for a ceremony or an opening. She carved and customized the shell’s opening so that it has a rich, low, and resonant sound. Her years of playing the horn in the Hawai‘i County Band—and a physical handicap that forces her to breathe through the diaphragm—helps her to do it proficiently. photo by Karen Valentine

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Virginia Isbell of West Hawai‘i | By Karen Valentine

Over three decades of major development in West Hawai‘i, there was hardly anything Virginia didn’t have her hand in. “I wanted to equalize the benefits to this side of the island. I spent 16 years in the Legislature. Almost everything that’s around here I had my fingers in.” During that time, she laments, “We couldn’t get anywhere because of Hilo,” meaning the entrenched voting block of the island’s larger populated area. The population has been steadily growing on the west side since then. She has been an advocate for affordable housing in conjunction with real estate developments. Virginia was born in 1932 in Montana to an Italian immigrant father and an American wife, the 11th of 12 children. There were harsh conditions there, and families often lost children to diseases. “When I was five years old, I had scarlet fever, which in those days was fatal,” she said. “Children all around us were dying. I can remember going out of my body. I died in my bed and the doctor said to my mother, ‘Bessie, prepare for a funeral.’ After he left, I was lying there and started moving. I remember my Mom screamed. I said I’m not going. I wanted to tell people what happened to me but I couldn’t get them to believe me. I was angry because I couldn’t talk about it. I think I’ve been angry ever since.”

KeOlaMagazine.com | November–December 2015

’ve been dead three times,” said former Hawai‘i State Legislator and Hawai‘i County Councilwoman Virginia Isbell. “I survived because I’m a rotten kid—a stubborn Italian. I learned if you don’t fight, you don’t get. After that I’m not afraid of anything. You’ve got to be yourself, be true to who you are. I just tell the truth about things. A lot of people can’t handle that. If there’s something wrong, tell it like it is.” These statements perhaps encapsulate Virginia’s approach to a lifetime of service to the community, fearlessly tackling contentious personalities and difficult issues while tenaciously holding onto goals throughout years of stalling bureaucracy to accomplish community benefits. One of many such community benefits is the new campus in West Hawai‘i, the Hawai‘i Community College Pālamanui, University of Hawai‘i. Allocation of land for this project was begun by Virginia and colleagues in the Hawai‘i State Legislature during her second term as Representative for West Hawai‘i from 1988 to 1996; classes finally began this fall after a 25-year odyssey. “I started the ball rolling for the Pālamanui campus,” she says. “We took 1,000 acres when I was in the legislature. I said ‘That’s going to be a university.’ It took awhile.” In addition to the University campus, the Pālamanui development plan includes a residential community with recreational spaces and a town center.

She’s a Survivor

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Family portrait circa 1978 features the entire Isbell family. L–R: Virginia, Mahealani, Iwalani, David, Rick, Daniel, and Donald.

KeOlaMagazine.com | November–December 2015

The second time Virginia “died” was from bulbar polio, a paralytic form of polio that affects the brainstem and spinal cord, attacking the muscles that control breathing, often resulting in asphyxiation. Again, she said, smiling, “They didn’t know what to do with me, because I was supposed to be dead. My back collapsed. I survived. I guess I was a reject.” The condition has left her with a stooped posture and breathing strictly from her diaphragm. This practice probably

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enhances her ability to blow the pū (conch shell), which she often does for public ceremonies. “I blow a lot of hot air.” Yet again, when a teenager, Virginia says she died from bacterial spinal meningitis. No one can say that she isn’t a survivor! At the age of 83, she still swims and participates in Hawaiian outrigger canoe paddling. She has survived 12 campaigns for public office: nine for the State Legislature, one for mayor and two for County Council. She lost five times out of the 12. In 1953, Virginia married her husband of 62 years, Donald Isbell. They had two sons in Montana prior to moving to Hawai‘i in 1960. “We were determined to leave Montana because of the snow. We had two little boys, and we almost lost a little kid in the snow. He was just learning to walk. I took the boys out for a sled ride where my husband had just shoveled the walk. There were big piles of snow on each side. I turned briefly to help the older one, David. When I turned back around, I couldn’t see the younger boy, Daniel. I didn’t panic and told myself, I know he has to be here. Soon I saw a bit of his little boot wiggling in the snow. I dug around it and there he was, face flat in the snow and struggling. He could have died. That is what made us move. I said I’d had it.”


Virginia and Don Isbell, 2013, photo courtesy Virginia Isbell

Virginia was honored with a Lifetime Service Award by the Kona-Kohala Chamber of Commerce (KKCC) in its 2012 Pūalu Awards for community service. The Lifetime Service Award taps an individual who has made a lifelong commitment to the community through personal and/or business achievements. In her nomination, it was stated, “Dedicated to making things better in our community, Virginia demonstrates excellence in her ability to identify problems, develop solutions, bring together strategic partners and stay committed until positive results are achieved, offering tireless service to Hawai‘i Island.” From left: Vivian Landrum, KKCC president/CEO, Virginia Isbell, and KKCC Chair Debbie Baker. photo courtesy KKCC

For newcomers to the island, she told it like it was in a letter entitled, “Taking responsibility:” “I could tell [that] the people of West Hawai‘i desperately needed a facility for county government, and now, 50 years later, we have it.” Speaking about a detractor, she says, “He should have lived here when all county department heads and offices were located in Hilo. If you wanted to get a permit for any building, pay your taxes at the tax department, get a license for your car, etc., you had to go to Hilo.” The Civic Center is now a reality. “All Kona had was a small police station and fire station in Captain Cook.” “And oh, yes, there was a only a secondary road from Waimea to Kona and a one-lane road south of Captain Cook to Nā‘ālehu. There was no Queen Ka‘ahumanu Highway, just a simple road to Honokōhau Harbor, a one-lane road from Kailua Village to Keauhou, and only one road in and out of Kailua Village—Palani Road,” Virginia said. Reports Virginia, ”Over the years, we have constantly struggled with the need to have county services in West Hawai‘i.” There is another side to Virginia Isbell, one that loves music and gives of herself. In 1999, Virginia was honored as an “Ageless Hero” in the category of “Creative Expressions” by Soroptimist International of Kona, a group that was formed in 1971, where she is a past president. In the organization’s newsletter it was explained, “While her legislative contributions to the community are many, Virginia was honored for her creative talents, specifically, her love of music and performing. Her musical abilities were recognized and cultivated at a very early age. She began studying classical piano at age five. Today

KeOlaMagazine.com | November–December 2015

Don Isbell was a schoolteacher, and they learned that Hawai‘i was offering living quarters in cottages to entice teachers to move here. They landed in Pāhoa and moved into a cottage that rented for $8 per month. Two daughters, Mahealani and Iwalani, were born there, and after four years, the couple moved to South Kona and a job for Don at Konawaena High School. One more son, Richard, was born on the Kona side. With the low rent for the cottages, she says, “We could save money to buy a house nearby after eight years.” The Isbells still live in that house today. It was only five years ago that Don retired at age 80 after a marathon 56-year career of public school teaching. He taught social studies and began band programs at Pāhoa and at Konawaena and Kealakehe Intermediate schools. He was also instrumental (literally!) in starting the Hulihe‘e Palace Band and Hawai‘i County Band. Virginia had completed college degrees in library science and medical secretary training in Montana. She chose to primarily be a stay-at-home mother until the children were grown. Her earliest experience in community service, she says, came with her daughters in Girl Scouts. She worked to improve the Girl Scout Camp Kilohana on Saddle Road. “My first bid for the Legislature was when the kids left.” Virginia won eight straight House terms from 1980 to 1996, the last four as a Democrat. “I was eight years a Republican and eight years a Democrat. I couldn’t get anything done as a Republican so I changed parties. I was good at working with the other legislators and saying that we could benefit by doing these things together. I would give my reasons so it would make sense. What we do is what we do together,” she said. “In 1996 I decided to leave the legislature and run for mayor. I lost by three points to [Stephen K.] Yamashiro. There’s so much going on in the other side of the island. There’s still never been a mayor from this side.” In 1998, 2000, and 2002 she tried again for state office and lost: so then she ran for County Council, winning in 2004. In 2006, she lost by only nine votes in the primary for Council, amidst political controversy and infighting. In 2008, Virginia ran against Josh Green for State Senate and lost in the primary. Even today Virginia is ready to pick up the banner and fight for what she feels is right. In 2011, she wrote a letter to the editor at West Hawai‘i Today, defending the proposal to build a new county building for West Hawai‘i. This letter included a good description of her district’s progress throughout the years.

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Virginia asks for payment in the form of handmade gifts, and she saves them all. “They have to make it themselves,” she says. “I’ve been doing this over 30 years and I have plastic boxes full of them.” She has had many other volunteer positions over the years, including serving on the Kona Crime Prevention Committee. She still takes photos for police department events, in addition to blowing the pū for community blessings, grand openings, and groundbreakings. She served on the boards of directors of the Kona Family YMCA and the Kona Soil and Water Conservation District, helped found the West Hawai‘i Fund and served as an officer, director and volunteer of Kai ‘Opua Canoe Club. The Isbells’ two daughters, Mahealani and Iwalani, live on O‘ahu. Iwalani is a designer of swimwear. Son Richard “Rick” manages Tavarua Island Resort in Fiji, to which he commutes from Huntington Beach, Ca. Son David lives and works in Ocean View and Daniel was tragically killed in a car accident. The Isbells’ have five grandchildren and two great-grandchildren. Virginia enjoys swimming and paddling with Kai ‘Opua and Keauhou Canoe Clubs. In a news clipping from 2012, Virginia Isbell’s name was listed as part of the Team Kupuna in the Lavaman Waikoloa Relay triathlon race. She swam the 0.9 mile swim leg in ‘Anaeho‘omalu Bay in just under an hour. Virginia’s favorite poem, which she has memorized, is entitled “It’s All in the State of Mind” by Walter D. Wintle:

November–December 2015

Eight-year-old Sophia Weir is Virginia’s youngest piano student. Virginia says teaching piano is what she enjoys most, because she helps people—children especially—who would otherwise never have a chance to take piano lessons. photo by Karen Valentine

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she is quick to share her talents in the community she loves so much by volunteering to perform… at special events and more. Besides being a pianist, Virginia Isbell also plays the [baritone] horn and sings. In 1976, she helped start the all-volunteer Hulihe‘e Palace Band, and she has performed in the Hawai‘i County Band as well as a barbershop quartet…. Those of us who know Virginia know that she is an ‘Ageless Heroʻ in all areas of her life.” These days her calendar is full from giving piano lessons and playing at a weekly performance at Life Care Center in Keauhou. “I give free piano lessons. That’s the thing I enjoy the most, because I see people, children especially, who would never have a chance to take piano lessons. I teach four adults plus children, including four in one home. I used to do it for money when the kids were little. Now I said it’s time to give back.”

If you think you’re beaten….. you are If you think you dare not….. you don’t If you’d like to win, but think you can’t, It’s almost sure you won’t! If you think you’ll lose, you’ve lost, For out in the world we find, Success begins with a fellow’s “will” …. It’s all in the state of mind. Life’s battles don’t always go To the strongest or swiftest man, But soon or late, the one who wins, Is the one who thinks he can!!! ❖ Contact Virginia Isbell: isbell001@hawaii.rr.com Contact Karen Valentine: karenvalentine808@gmail.com


A painting of Virginia by a friend, “Kelini,” honors her years of public service.

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KeOlaMagazine.com | November–December 2015


Hannah Springer and her son Kekaulike photo courtesy John DeMello

“Try WAIT” Fishermen and families work towards a sustainable fishery at Ka‘ūpūlehu | By Catherine Tarleton

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Palau inspires Palau, an independent nation of 250 islands in the West Pacific, uses a traditional sustainability model called “bol,” similar to the Hawaiian “kapu” system. This allows for restrictions on fishing during certain times of the year in order for a population to replenish itself. Under the guidance of Noah Idechong, former Speaker of the House of Palau’s National Congress and co-founder/director of the Palau Conservation Society, Palau has worked with local fishing communities to reinstate the bol fishing restrictions, thus melding modern marine conservation science with traditional knowledge. As a result, Palau’s economy benefitted from an upturn in tourism, specifically as a diving destination. And, with some 700 species of coral and 1,400 species of fish, Palau is ranked #1 on the list of the “Seven Underwater Wonders of the World.”

Here on Hawai’i Island, the Ka‘ūpūlehu Marine Life Advisory Committee (KMLAC) is working on a plan similar to the Paualan model, called “Try Wait.” “Try Wait” “It’s a very simple concept—by not taking the big fish out of the ocean, the population can recover,” says Chad Wiggins, a scientist with The Nature Conservancy-Hawai‘i. The Alabama native came to UH-Hilo in 2000 to study the coral reefs. In 2009, he began working with the Nature Conservancy at Ka‘ūpūlehu— at the invitation of the KMLAC. A volunteer collaboration of scientists, lineal families, and other stakeholders, KMLAC was established in 1997 as a result of an intervention on an Army Corps of Engineers permit application to dredge near-shore waters at Ka‘ūpūlehu. It included representatives of the parties to the case: Kona Hawaiian Civic Club, Office of Hawaiian Affairs, Kamehameha Schools (landowners), and Hualālai Development (lessee/applicant). Kama‘āina (child of the land) members sit with the KMLAC as “Nā Kupuna.” KMLAC has since broadened participation to include natural resource managers, educators, scientists, and state agency officials, including Division of Conservation and Resources (DOCARE). Chad also serves on the West Hawai‘i Fisheries Council (WHFC), an advisory group that formulates and recommends management actions to the State Department of Land and Natural Resources. His work takes him up and down the coast, gathering data,

KeOlaMagazine.com | November-December 2015

round the world’s oceans, fish and seafood populations are shrinking at an alarming rate due to overfishing and other factors. In Hawai‘i, specifically on the West Coast of Hawai‘i Island, anecdotal and scientific data point to steep declines in many species of fish and marine life, including shellfish, corals, seaweeds, and other ocean plants. According to the World Wildlife Federation, two-thirds of the world’s fish stocks are either fished at their limit or over-fished. Additionally, the United Nations Food and Agriculture Organization estimates that 70 percent of the total fish population is fully used, over-used or in crisis. In the coastal Ka‘ūpūlehu area of North Kona, fish abundance declined 41% between 1992 and 1998, and fish diversity decreased 41%. In addition, coral cover decreased from 40.71% in 2003 to 27.05% in 2011, according to University of Hawai‘i studies.

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KeOlaMagazine.com | November-December 2015

working with local communities and learning more about the history of the area and its evolution. “In 1973, the Queen Ka‘ahumanu Highway was built and resources declined. In the 1990s, the resort was built and resources declined,” says Chad. “With more people having ocean access, there are a lot fewer fish. The impact from that access has been demonstrated very clearly.” This impact has resulted in the “Try Wait” program. Through the efforts of many, over years of work, a specific concept has emerged as a goal of the program, and as a pointer towards solutions. “Try Wait,” adapts the ancient kapu system and urges the public to refrain from fishing in the area for 10 years, thus allowing a natural process of re-population. Chad says Ka‘ūpūlehu-Kūki‘o is the only area in the state that has identified such an approach. “The members of the community are the ones living with this system and the ones suggesting change.” “We are working there to understand the health of the fish and coral community as well as the tidal community,” says Chad, who works closely with families who have ancestral connections to the area. “The real story is the families’ perspective. Our baseline for health comes from a many-hundreds-of-years-old fishery.” One of those families includes kama‘āina Hannah Kihalani Springer, a member of KMLAC as well as a founding member of WHFC.

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Hannah. “When development came to Kūki‘o in the 1990s, we were skeptical and accepting.” “Resorts have bloomed down there—and we are engaged through professional consultation, regular employment and volunteerism,” she says, referring to her and others’ work to preserve the unique character of the region as well as the environment and the creatures who live there. “So many people decry the resorts and developments, but without them, the County would not have enacted the public access that they use to reach these areas.” The first intertidal survey and training at Ka‘ūpūlehu in 2010

Kama‘āina perspective “It is our story, and in this century, in this season, it comes to include a host of others,” says Hannah. “Our family has been here since before the rise of Kamehameha, my father’s people at Ka‘ūpūlehu and my mother’s at Kūki‘o. My maternal great-great-grandfather founded Hu‘ehu‘e Ranch which included the family land of Kūki‘o and we at one time held the Kamehameha Schools lease on Ka‘ūpūlehu.” Hannah’s health and well-being have been shaped by her lifelong relationship with these lands and near by Manini‘ōwali, where she recalls body surfing, even before Queen Ka‘ahumanu Highway was built. In those days, boat travel was best; otherwise they would go by Jeep to Kuili and walk the rest of the way in to Manini‘ōwali and Kūki‘o. “In 1975, Queen Ka‘ahumanu Highway opened, and we saw the unintended consequences of that mighty public work,” says

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Today, the West Hawai‘i Regional Fishery Management Area extends along 116 miles of coastline from ‘Upolu (Hawi) to Ka Lae (South Point). There is an Aquarium Fish Replenishment Area in Ka‘ūpūlehu-Kūki‘o, a precedent-setting national permit declaring the need for ‘Ōpelu the protection of kūpe‘e, limu, photo courtesy Jim Kilbride and other species based on their cultural, not environmental, value.
“Try Wait”—is kama‘āina and people in Hawai‘i, with or without the koko Hawai‘i (Hawaiian blood), practicing the tradition of refraining from harvest,” says Hannah, “And that is as important a responsibility as the right to harvest… Article 12, section 7 of the Hawai‘i State Constitution protects rights of practitioners. We are suggesting that the practice of refraining from harvest deserves protection too.” ‘Aloha kekahi i kekahi’ Hannah expresses gratitude for citizens who take the time to sit on boards and attend public meetings, to work with existing systems toward solutions, and to guide behaviors toward longterm goals. The approach is not without obstacles, however, and the process can be arduous, often adversarial in nature. “Foremost, families did not break ‘aloha kekahi i kekahi’ (aloha from one to another),” says Hannah. “We never adopted the role of adversaries. We used the full depth and breadth of our skill sets, and that allowed for incisive exchanges, not emotionally harmful, exchanges that were intellectually engaging.” “The ‘āina shapes our world view—our humor—our approaches to problems,” says Hannah. “That’s our behavior pattern. We are engaged and influential in our homeland, acting on behalf of this land and its seas that we love so much. Kama‘āina are children of the land; and in the same way that families shape their members, we are shaped by the ‘āina that we describe ourselves as kama of.” “Our children—in them and in their children are all kinds of hopes and promises,” says Hannah. “There will be continuation of relationship with the land.”

What can we do? •“Try Wait”. If you are a fisherman, refrain from harvesting in protected areas. •Take only the resources (fish, seafood, seaweed) you need for your family. •When swimming and snorkeling, be mindful where you put your feet. Never step or stand on the coral reef. •Use ocean-friendly sunscreens, those that don’t put chemicals into the ocean. •Report noteworthy changes or conditions to the Eyes of the Reef (eorhawaii.org) or other monitoring network.

KeOlaMagazine.com | November-December 2015

Not the end of the line, yet Award-winning filmmaker Rupert Murray, in The End of the Line, traveled the world’s oceans to document horrific losses of

fish from humankind’s predation. From the Chesapeake Bay to Newfoundland, Scotland, Gibraltar, Senegal, and Japan, fishing industries have dwindled, nets are empty and demand soars. Yet he does not see the situation as hopeless, as quoted in his Director’s Statement. “It only seems overwhelming if you concentrate on the negative side of the issue. If you look at how simple and universally agreed the solutions are, that the fishing industry is a relatively small industry to regulate properly, that a global network of marine reserves would cost the same as the amount we spend on ice cream, then I believe you can remain hopeful and positive. Healthy oceans are win, win, win, for fishing and coastal communities, for the health of our planet, for our diet, for our future. I want people to take away the fact that the oceans salvation is in our grasp. Firstly I want people to question their eating habits, and question the people who supply them with fish and try to buy only sustainably caught fish. Secondly we want to have an influence on political decisions so people should spread the word about the film and join our campaign.”

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Can you see a tiny manini (surgeonfish) just below the fingers?

•Participate in the democratic system. Attend public hearings. Keep informed. Make your vote count. •Volunteer for tracking and monitoring networks, sit on councils and committees relevant to you, your family, your neighborhood. •Know where your fish comes from and how it has been caught. Ask questions at sushi restaurants. •Try tasting different kinds of smaller fish instead of tuna, marlin, or swordfish. •Make mindful choices in local business—about purchasing, contracting, and operations. •Learn more about the oceans and marine life through public events. •If you have 200 people fishing righteously, it’s still 200 times the effect of one person. ❖ Resources The Nature Conservancy Hawai‘i. Nature.org/Hawaii Ka‘ūpūlehu Marine Life Advisory Committee. Facebook.com/KMLAC

KeOlaMagazine.com | November-December 2015

The End of the Line. EndOfTheLine.com

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Department of Aquatic Resources identifies 10 regulated fishing areas on Hawai‘i Island: Hilo Harbor, Wailoa River, and Wailuku River Waiākea Public Fishing Area West Hawai‘i Regional Fishery Management Area Kailua Bay Kawaihae Harbor Keauhou Bay Kīholo Bay Kona Coast Puakō Bay and Puakō Reef South Kona (Miloli‘i) DLNR.Hawai‘i.gov/dar/fishing/fishing-regulations/regulated-areas/ regulated-fishing-areas-on-Hawaii Contact writer Catherine Tarleton: catherinetarleton@gmail.com


Nānā i ke kumu The value of source and well being. Look to your source, find your truth. Get clear, and be encouraged. Eighteenth in an ongoing series.

Managing with Aloha: Nānā i ke kumu | By Rosa Say

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spirit of hospitality creating fertile ground for stakeholders to gain place-connected experiences while they were involved with us. They could then feel for themselves what the Aloha spirit was all about, of and for. He explained this as key to being “culturally correct” in the way we shared Hawai‘i with visitors as well: A guest experience could be a locational experience too. The words “sense of place” echo much farther back within my consciousness; I cannot tell you when I first heard them, for it seems they’ve always been there. Beyond words, they’ve been more of an assumption for me, something I have—something I need—to help me grow in respect for Hawai‘i, land that gave me birth and nurtured me as I grew. And beyond paying respect, to Mālama her, honor and care for her whenever it is in my power to do so. Therefore, when I hear the phrase Nānā i ke kumu, I know I must consider my emotional sense of place as well as my intellectual honesty and reasoning. In this regard, I am no different from most within our Hawai‘i communities, whether they be keiki o ka ‘āina, kama‘āina, or malihini. Each person has a connection to this place; all have deliberately chosen to be here. When a child is troubled and hesitates to say just what the problem is, Hawaiian elders will often say “Nānā i ke kumu.” They are saying, “Find a place where you can sit quietly, and look within yourself for the source of what troubles you, for there you will also find strength within your inner spirit with which to deal with the trouble.” Do this for your business, and you will get in arm’s reach of Pono, the value of rightness and balance. Not only does Nānā i ke kumu encompass source and explain culture: It describes your full capacity moving forward. Initiate the Nānā i ke kumu conversation with your team. The calendar conspires right now, and the holiday spirit warms us and comforts us; a perfect time to explore the guidance of Nānā i ke kumu together. Be a part of your community. Watch, listen to understand. Discover their needs, needs your business is perfectly suited to fulfill in serving them. ~ Rosa Say Next issue: Pono, the value of rightness and balance. Contact writer Rosa Say: RosaSay.com, ManagingWithAloha.com

KeOlaMagazine.com | November–December 2015

e’ve covered 16 values inherent in the Managing with Aloha business philosophy. There are three more, all which bring sharper clarity to the others—they seek to ground you, and bring you a job-welldone’s satisfaction and contentment. For a business, this means they can significantly sort out, then solve any disconnection existing between how a company operates, and how all its stakeholders believe it should operate ethically, morally, and in human awareness of place-related contexts. Those stakeholders include staff, all partnerships, and those in a business’s surrounding community. We start with Nānā i ke kumu, the value of well being, core value driver of that familiar island phrase “sense of place,” a concept undeniably woven into everyone’s sense of belonging. Literally translated, Nānā i ke kumu means ‘look to your source’ recognizing an inner wellspring inside each and every one of us. We look within, and self reflect to get healthy, in body, mind and spirit. This is one’s wellspring of identity and intuition, intellect and emotion, values and beliefs, lessons learned and ancestral knowledge, all personal and professional alike. Nature is where it all begins for most islanders, and the Hawaiian people are no different. We call ourselves keiki o ka ‘āina, children of the land, understanding that our roots are within the land, and we grow shaped by our environment. In Hawai‘i the ‘āina is not just soil and sand, lava rock and dirt; the ‘āina is a statement of heart and soul for us. The very word brings forth deep emotion: Aloha ‘āina are our words for love of the land, for it is with Aloha we share the breath of life, understanding ‘āina gives us life and provides sustenance. In this way, humanity and nature are considered father and mother, soul and spirit. When I moved from O‘ahu to Hawai‘i Island, I had the privilege of attending classes taught by the late Dr. George Kanahele, highly respected scholar and civic leader of the Hawaiian renaissance of the 1970s whose Ho‘ohana at the time of these classes—the early 1990s—was within the field of organizational consulting. The definition he shared for ‘āina as place has always struck me as being concisely intuitive and easy to remember. He said that ‘sense of place’ involves both the feel of a place, and the feel for a place. He taught us that place is personally defined for people by their own “locational experiences,” bridging of and for. He urged our business team to open our company with a

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KeOlaMagazine.com | November–December 2015

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TOM uali i ‘ K Superman doesn’t always wear a red cape | By Denise Laitinen

photo courtesy Joe Johnson of Really Right Stuff

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eteran’s Day is November 11, and in this article we highlight a Hawai‘i Island veteran who has served both our country and our island community. We write of Tom Kuali‘i. This is Tom’s story. Sometimes supermen wear camouflage instead of a red cape; and sometimes they are called “Dad.” They serve our country, raise a family, and make the world a better place. Ever humble, Tom Kuali‘i would be the first to deny he’s a superman, however his actions speak louder than his words. A veteran whose military career spanned two decades and included a tour of duty in Iraq, Tom has spent years dealing with the effects of post-traumatic stress disorder (PTSD); yet he works full-time as a heavy equipment operator and in his spare time is an award-winning photographer. Indeed, his lava-related images appear in galleries and venues across Hawai‘i and as far away as New York. Tom also co-owns a successful fine art gallery in downtown Hilo. All of this on top of being a single father raising four daughters. A Native Hawaiian whose family traces its genealogy back for centuries, Tom was born and raised in Hilo, the oldest of four children. After graduating Waiakea High School, he joined the Hawaii National Guard and earned an associates’ degree at Hawai‘i Community College (HCC). While at HCC, he picked up photography as a hobby and took a couple of photography classes. At the time, he had no

Tom joined the Hawai‘i National Guard after high school graduation and was deployed to Iraq in 2004–2005. photos courtesy Tom Kuali‘i


“When I moved back in 1998, I was still active in my National Guard unit….I wound up working actively with them on a fulltime basis for three years.” Since his National Guard work was based on annual contracts and fluctuating budgets, Tom sought out more permanent work. “I got hired by DPW Highways [County of Hawai‘i Department of Public Works] and continued working with the National Guard on a part-time basis.” In 2004, Tom and his unit received word that they were being deployed to Iraq. He took military leave without pay from his job at Public Works and prepared to head to a war zone. idea of the impact the military or photography would have on his life. He continued his education on O‘ahu, studying athletic training at BYU and then UH Mānoa. Tom also continued with his military training, transferring to the 12 93rd aviation unit based at Wheeler Army Airfield. As part of his service, he participated in training one weekend a month and two weeks a year. Tom says the idea of pursuing a career either in photography or in the military never occurred to him. “I was studying physical education and coaching women’s volleyball,” he says. Life has a funny way of moving in unexpected directions. He fell in love, got married, and the babies started coming in quick succession. By the time his third daughter was born, Tom gave up his studies to work full-time supporting his family. In all, the couple had four girls: Britni, Taetum, Codi, and Meagan. When his youngest daughter was still a toddler, the couple divorced and Tom moved back to Hilo with full custody of his four daughters.


Over the years, Tom had risen through the National Guard ranks, so when his unit deployed he was an E6 Staff Sargent responsible for 11 soldiers under his command. “Our squad was able to stay together,” explains Tom. “When you’re in the National Guard and get called up, you get attached to a company, but we were able to stay together as a whole unit. All together there were 250 to 300 people in our company.” While he was happy that he would remain with his fellow Hawai‘i soldiers, he says leaving his daughters was the hardest thing he ever did.

Tom won first place in a photography contest with this picture depicting the mesh barriers made by British manufacturer Hescobastion. As the top winner, Tom won a brand new Harley Davidson motorcycle from the company. photo courtesy Tom Kuali‘i

“My daughters were 9, 11, 13, and 15 at the time. I still have this picture in my head of when I said goodbye to them that day. My youngest daughter Meagan was crying and holding onto my leg. I had to forcibly pull her off my leg and tell my parents to take her because I had to get on the bus to leave.” “My daughters lived with my parents while I was deployed, and my sister was a big help.” Tom and his unit spent a total of three months preparing for their deployment, first on O‘ahu and then in Kuwait. After Kuwait, his squad was stationed at Balad, the largest military air base in Iraq. Located 50 miles north of Baghdad, the base was a central hub for airlift operations, for U.S. supply convoys and the U.S. Air Force. As an aviation unit supporting the troops in Iraq, they were responsible for managing aviation fuels and refueling aircraft. Tom and his men weren’t just responsible for refueling National Guard helicopters and planes; he says, “We were responsible for whatever units were deployed in the entire country.” “When we got to Balad it was summer and the hottest it got was 127 degrees. It was a dry heat,” he says with a wry grin. “We couldn’t wait for winter. But when winter came, it was terrible. We couldn’t wait for summer again. It was cold, wet and really muddy.” The weather was the least of their worries. “Mortar rounds would come in when we were on base. When we first got there and a mortar round came in, we were scared and tried to get into protective barriers. As time

KeOlaMagazine.com | November–December 2015

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went by, we got more used to it and would walk around as the base got shelled. It made work challenging, but we adjusted.” In addition to working at Balad, “We had a mission in Najaf when fighting heated up in that area. At the time Najaf was the front line: and we set up a temporary base just outside the city where soldiers would come to resupply and refuel.” Tom says one of the toughest parts of his deployment was the four months he spent providing support for a diplomatic security detail in Baghdad. “They only needed two people and my job was to assign those two people. Knowing that it was a bad place, I volunteered myself and asked for another volunteer.” Tom says it was very different working in the capital of the country as opposed to a remote military base. “Balad was surrounded by farm land for as far as the eye could see. Insurgents attacked us with a variety of weapons on an almost daily basis. Baghdad, however, is the capital of Iraq—a busy urban center—and you couldn’t tell the difference between insurgents and civilians. Gun fire and car bombings were regular occurrences.” When not dodging mortar rounds or refueling aircraft, Tom fell back on an old hobby to pass the time—photography. Right

before he headed overseas he purchased his first digital camera, a Canon 10D. “I knew only the basics from my classes at HCC. From there I expanded by reading and learning online; I was all self taught.” “On our days off I consumed myself with photography. Mostly I was taking pictures of what we were doing. It took my mind off things.”

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KeOlaMagazine.com | November–December 2015

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“I gained a liking for photography and the ability to post process images. Post processing is a huge part of digital photography,” says Tom. “I learned how to take images as well as process them. I really enjoyed it.” While in Iraq, Tom entered a photography contest sponsored by British manufacturer Hescobastion. The grand prize was a brand new limited edition 2005 Harley Davidson motorcycle. “When I submitted my photo I didn’t expect to win because there were 700 entries. While I was in Baghdad I was notified I was the grand prize winner. Since I was still in Iraq, the company waited until I returned to Hawai‘i before giving me the motorcycle.” When his unit’s in country deployment was finished, Tom and his fellow soldiers still had to undergo two months of post-duty processing in Kuwait and O‘ahu before he could be reunited with his kids. In all, he was away for 18 months. True to its word, Hescobastion was waiting with his grand prize motorcycle when he returned to Hilo. “The company sent two reps from London. They had a big ceremony and presented me with the bike and even trailered it to my house.” Tom had sold his car before being deployed and was about to restart his job at Public Works, so he needed a car to get to work. Since he needed a vehicle to drive his four daughters around, he sold the bike and bought a truck that he owns to this day. He returned to what was familiar, yet things were not the same. Like many veterans returning from combat duty, Tom suffers from PTSD and often has trouble sleeping. “To this day I have a hard time with loud, sudden noises.


“It was such a struggle for me because I had to work a full-time job. I had to take care of my kids. And then I had to manage my PTSD and manage the problems connected to my inability to sleep.” As he did in Iraq, Tom turned to photography as a way to take his mind off things. He looked for times, usually weekends or holidays, when he could go into nature and shoot photographs. “Every time I go out into nature or visit Pele, I find it’s a happy place, a comfort place. I enjoy photography so when I came back I pursued it more. The photography doesn’t make the PTSD any easier, but it makes me happier.” “I want to be the best photographer I can be; so I squeezed photography in between raising four kids and working fulltime.” On top of all this, Tom remained active in the National Guard and in Tom has become well-known for his 2008 he received word that his unit lava and landscape photography. was being sent back to Iraq. photo courtesy Tom Kuali‘i “I wanted to go and I actually expected to go. I remember sitting down with my girls after I got the call and telling them that Dad’s going back to Iraq.” “Even to this day it puts a gulp in my throat. My girls cried. It broke my heart. It made me realize what they went through during my first deployment. I knew they had suffered while I was gone, but I didn’t know just how much they had gone through.” Tom says he realized that as much as he wanted to be with his military family, he didn’t want to put his daughters through another deployment. The following day he called his unit and told them he photo courtesy Tom Kuali‘i

KeOlaMagazine.com | November–December 2015

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Kona’s destination for SHOPPING& DINING

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was retiring after more than 25 years with the National Guard. He didn’t know it at the time, but that decision enabled him to be present for the next turn in his career. The same year, Tom met fellow photographer Bruce Omori, whose daughter played on the same soccer team as one of Tom’s daughters. At the same time, lava from Kīlauea volcano started flowing into the ocean, and the County created a public viewing area in Kalapana. Tom and Bruce started going on hikes to photograph the lava’s ocean entry. “I partnered with Bruce in 2008 when the lava flow started. We took pictures of the lava and put up a tent at the public lava viewing area where we sold our photographs.” Tom and Bruce formed a company called Extreme Exposure and quickly built a reputation for their top-notch lava photography. When the lava stopped flowing into the ocean a few years later, the pair decided to launch their own gallery. In 2010, they opened Extreme Exposure Fine Art Gallery in downtown Hilo. Tom and Bruce’s work is now on display at galleries and venues across the state, including the Polynesian Cultural Center on O‘ahu, as well as at venues in New York and Florida.

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KeOlaMagazine.com | November–December 2015

Fun for the whole family! Come and watch “Polar Express” on a big screen in the Kona Commons parking lot.

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By day Tom works as a heavy equipment operator for Hawai‘i County and does his photography at night and on the weekends.


Tom continues working as a heavy equipment operator for the County; he was part of the road crew that worked round the clock to clear the roads from fallen trees after tropical storm Iselle devastated lower Puna. He was also one of the equipment operators that helped clear Chain of Craters Road when lava threatened Pāhoa last year. He further manages to work L–R standing: in the gallery on nights and Tom, Britni, Codi seated: weekends. All this the while Taetum, Meagan continuing to cope with PTSD. For all the struggles dealing with PTSD and all the accolades he receives for his photography, his main focus remains his family. Since they were young, Tom encouraged his daughters to pursue higher education. “As hard as it has been being a single parent, my biggest goal was to make sure they got to college. I always told my kids, ‘it’ll be hard financially…but we’ll find a way.” He notes with pride that three of his daughters are currently in college while the fourth one is working full-time. Some folks at County Public Works just know Tom the equipment operator. Others recognize Tom as a fellow veteran, while still others know Tom only as the talented lava photographer. His daughters know he is all that—and more. He’s a Hawaiian superman. ❖ Contact Tom Kuali‘i: tomkualii@extremeexposure.com, ExtremeExposure.com Contact writer Denise Laitinen: Denise@DeniseLaitinen.com

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photo courtesy Dana Edmunds Photography

“The details are not the details. They make the design.” Charles Eames, classic designer

The students at Hawai‘i Preparatory Academy (HPA) are pushing the term “going green” to new heights thanks to the construction of the school’s state-of-the-art, one-of-a-kind energy laboratory. The $3.7 million, 6,100-square-foot facility is truly unique. Replete with wind turbines, an array of photovoltaic panels and a specialized cooling system, this building runs completely on renewable energy and acts as an ongoing, never-ending science project. Erected on a hillside overlooking the quiet Hawai‘i Island town of Waimea, the HPA energy lab building’s detailed construction makes other science facilities around the nation pale in comparison. According to Dr. Bill Wiecking, director of HPA’s energy lab

KeOlaMagazine.com | November–December 2015

| By Megan Moseley

and one of the main designers of the facility, there is a purpose for almost every inch of the structure. The building’s architecture, for example, was intentionally designed to mimic the traditional three-pitch Polynesian roof model. Bill reports that in Polynesian culture, houses were often built facing the equator for better airflow and shade. This model also helps the energy lab’s cooling system work more efficiently. At nighttime, water goes through the thermal roof panels and is then cooled and stored for use as chilled water for air handling units. Air flows through the building, which is shaped like a wing, up to the peak of the roof, ventilating without noise or power. “It’s like a vacuum,” Bill says of the mechanism. There is also a certain character within the building, expressed in such features as the ‘ōhi‘a wood column made from salvaged wood, or the building’s outside bench which depicts an outline of the Waimea hills as a reminder of the school’s roots. The symbolism doesn’t stop there. Throughout the building there are clusters of lava rocks within the concrete walls. According to the school’s website, Vladmir Ossipoff, architect of the HPA chapel, has observed that “the lava rocks in the concrete wall represent our students: they come to us with rough edges.” Bill also likes to point out the several flat-screen televisions hanging from the middle of the ceiling in the building’s main hall. Desks for the students can be seen surrounding the area, which he compares to a communal fire. He explains that the room is set up in such a way so that it acts as a gathering place for students and teachers, enhancing the likelihood of creative exchanges among them.

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Hawai‘i Preparatory Academy’s Energy Lab main hall. photo by Megan Moseley

Creative exchange is a main focus of HPA and the students and educators who occupy the energy lab. With all the classrooms and public areas being easily accessible from one another, Bill says there is a building-wide fluidity that aids in the free exchange of knowledge. And the best part—it’s quiet. “Students like to come in here even when they don’t have class just to do homework or study” he says, noting the lab is more popular than the lunchroom. The view is worth noting too. The building includes large windows and a front deck that opens to beautiful views of Waimea, Mauna Kea, Mauna Loa, and Hualālai. It is also located away from the other school buildings, giving it a serene and placid feel that would be ideal for any young student trying to study.

KeOlaMagazine.com | November–December 2015

The science behind the structure While there’s plenty to say about the aesthetics of the building, it’s really the science behind it that makes it so special. Indeed, one has the impression that Bill barely scratches the surface during an hour-long tour and interview. For starters, the creation of the HPA energy lab construction readily satisfied two green building certification standards, those from LEED (Leadership in Energy and Environmental Design) and the Living Building Challenge (LBC). There are multiple levels of certification for LEED buildings including platinum, gold, silver, or “attempted.” The HPA energy lab received the LEED platinum rating in 2011.

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photo courtesy Dana Edmunds Photography


Comparatively, the LBC has even more strict guidelines which must be satisfied to obtain its certification. According to HPA’s website, LBC extends the challenge of LEED to include an assessment of materials sourcing, a one year post-occupancy auditing, and many other criteria. To receive an LBC certification, the building is judged on seven “petals,” including site, water, energy, health, materials, equity, and beauty. Certification is awarded only if the building meets or exceeds certain criteria for every petal. Remarkably, the HPA energy lab did just that. It is now the third project in the entire world to meet the LBC standard. According to the LBC website, (living-future.org/case-study/ hpaenergylab) the building site was intentionally located on the windward side of the school property in order to capitalize on Dr. Bill Wiecking works with students in his e-Physics class at the Energy Lab.

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the trade winds that move down the hillside. The site location also provides for optimal solar, thermal and photovoltaic panel performance. As for the water petal, the building received recognition for a system that treats domestic wastewater and provides for onsite infiltration. The energy lab also has a 10,000-gallon water storage tank, providing potable drinking water. Perhaps the most interesting aspects of the building are the renewable energy systems. Power for the building is provided by three arrays of photovoltaic panels that provide a total of 26.13 kilowatts of power. The building also has automated louvers that maintain temperature and humidity levels for comfort. In addition, there are more than 400 sensors that measure and control everything from water use to the amount of carbon dioxide in each room. Bill reports there are multiple benefits to monitoring the amount of CO2 in the building, pointing out that research shows that CO2 levels can affect the way people in small rooms think, focus, and even retain information. Luckily for the students, they have full control of this information and are able to adjust temperature, humidity, and CO2 levels accordingly to provide a prime-learning environment. “Imagine if every school could do that,” Bill noted. Apart from such technological innovations, the materials used for the construction of the building were also distinctive: they were all made from toxic free substances. Even the white boards are made toxic free, a product which according to Bill took some time to create.

PHOTO: Mary-Kay Cochrane

photo courtesy Dana Edmunds Photography

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Lucas Cohen works on the iBoat as part of the Green Technology class at the Energy Lab. photo courtesy Dana Edmunds Photography

Further, all wood in the building is either Forest Stewardship Council (FSC) Certified, or from salvaged sources. Finding some of the materials locally was one of the most challenging aspects of construction. To receive the LBC certification the materials have to be obtained within a certain radius. Also, some materials have to be mass-manufactured and given that the school is located in Hawai‘i, acquiring such materials posed a challenge for the designers. Bill reports the difficulty was nevertheless a blessing in disguise, causing the students and contractors to develop creative solutions. The final product The building was completed during a 12-month period with construction finally being finished in January, 2010. It now serves many purposes, for students and faculty alike. Currently, the energy lab allows students to partner with both local and

KeOlaMagazine.com | November–December 2015

THE ISAACS ART CENTER at Hawai‘i Preparatory Academy: 65-1268 Kawaihae Road, Kamuela, Hawai‘i. Adjacent to the HPA Village Campus.

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HOURS: 10 a.m. - 5 p.m., Tue. - Sat. Admission is free. For information, or to arrange group visits: 808-885-5884 or isaacsartcenter@hpa.edu WEB: http://isaacsartcenter.hpa.edu &

distant scientists and its cutting-edge technology assists with some pretty impressive research projects. These projects include research being conducted at the W.M. Keck Observatory on Mauna Kea, the NOAA Mauna Loa Research lab, and the NASA HISEAS program. Beyond the features of the building itself, the facility also contains various high-tech tools and equipment that the students can use. The students have access to fabrication equipment, high-tech digital media tools including EEG brain wave headsets, research drones with high-resolution cameras, a 3D printer, DNA cloning tools, and many others. They also have servers that monitor water, light, and energy and many other metrics both in the lab and in other buildings on campus. According to Bill, HPA students invented their own telemetry, control and monitoring system which accumulates information gathered year after year. Information put into the system helps

photo courtesy Dana Edmunds Photography

The Isaacs Art Center features some of the finest Hawaiian and Asian art from the nineteenth and twentieth centuries. All proceeds benefit the HPA Scholarship Fund, which assists promising young people in realizing their educational goals. HERITAGE ART SHOW (Mid-Oct. - Nov. 2015) This special exhibit commemorates the 100th year of our schoolhouse gallery and the remarkable art of the past century and includes landscape paintings from the Volcano School to mid-20th century: works by Jules Tavernier, David Howard Hitchcock, Theodore Wores, Charles Furneaux, Lionel Walden, Charles Bartlett, Helen Kelley, Lloyd Sexton, and Martha Greenwell. Martha Greenwellʻs “Mouse House” opens Nov. 17, 2015 - Jan. 9, 2016. Come visit the art center and enjoy! PICTURED: D. Howard Hitchcock, Cottages Amongst the Palms, oil on canvas, 1932


“A lot of it is due to that facility. The lab is a smart building which allows them to monitor energy consumption on campus. What it enables the students to do is really amazing.” According to HPA’s website, the mission of Hawai‘i Preparatory Academy is to provide exceptional learning opportunities in the diverse community while honoring the traditions of Hawai‘i. Thanks to the creation of this intricate building, HPA is able to do just that, all while reducing the school’s carbon footprint. ❖ photo courtesy Dana Edmunds Photography

Contact Hawai‘i Preparatory Academy: 808.885.7321, HPA.edu Contact writer Megan Moseley: meganr.moseley@gmail.com

to enhance the building’s overall functionality by adapting it to weather cycles using student analysis of data. Ultimately, the energy lab exists to nurture student learning. HPA serves hundreds of students, from all over the world and from on-island. The students use the advanced facility to perform sustainability research that impresses not only their peers and teachers, but the public as well. Patti Cook of the Waimea Community Association says that she got a chance to hear firsthand from the kids about their experience at the energy lab during a presentation in May. “The kids were awesome. During the presentation they showed the different kinds of projects they’re working on. The things they are doing are mind boggling” she said. “I think the kind of work they talked about is generally what you would find at a college level.” She says it’s the building that is giving these students a leg up in education.

Lucas Cohen (front), Michael Monahan, Alyssa Evans (left), and Katie Ho work on independent science projects in the Energy Lab. photo courtesy Dana Edmunds Photography

KeOlaMagazine.com | November–December 2015

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ArtWavEs

NOURISHES THE CHILDREN Imagine a world where care and understanding go hand-inhand with dignity, respect, creativity, and longevity. Imagine a world which offers education for the body, brain and the deep soul. The founders of Feed the Children Kona imagined such things, and ArtWavEs leapt into existence! ArtWavEs (AWE) original goal was to create 108 Blessing Banners, hand-painted by Hawai‘i Island kids, families and artists of all cultures, ages, and island locations. The purpose was to feed kids well, teach them to move mindfully, sing joyfully, and convert struggle into artistic expression which would encourage their positive aspirations. As the members prepare for the Third Annual Holiday ‘Ohana Dinner on December 22, to be held in “The Temple of Great Happiness” at the Daifukuji Soto Mission Hall in Honalo, they find that what they have fostered amazes even them. At press time, most of the 108 colorful, silk Habotai Blessing Banners, each four-to-six feet long, had been completed by more than 300 sets of Hawai‘i Island hands. These flags depict the children’s personal dreams for a positive future: a flying whale, taro leaves, mermaids, birds, butterflies, clean water and air, and happy ‘ohana, their images which nurture and celebrate the gift of life. The unique collection of prayer flags to be displayed at the Holiday ‘Ohana Dinner and Celebration is the culmination of a series of ArtWavEs Art Gardens in Hāmākua, Puna, Ka‘ū, and Kona over the past 18 months. The ArtWavEs project reflects the proverb “Give a man a fish, and you feed him for a day; show him how to fish, and you feed him for a lifetime.” By giving keiki and teens healthy meals, living skills and technical training, Feed the Children Kona is teaching them to “paint their own reality.” This program also emphasizes the principle that receiving the food of life is only half the equation and that giving back by serving the well-being of nature and others is the other half. Such giving completes the full circle of life and engages enormous power for good. ArtWavEs’ Blessing Banners have a very special purpose. Similar to well-known colorful Tibetan or Nepalese flags, they are in fact uniquely Hawaiian. The prayer flag tradition has a long history dating back to ancient China, Persia and India. More than just pretty pieces of

colored cloth, they are understood to carry the good wishes of the painter. This intention, together with the auspicious symbols displayed on such flags, is thought to produce a spiritual vibration that is carried by the wind across the countryside and sea, uplifting all beings touched by it. Leading members of Feed the Children Kona teach that just as a drop of water can permeate the ocean, positive intentions dissolved in the wind extend to fill all of space. They stress that there is perhaps no simpler or more potent way to share warm aloha with this troubled world than by painting and sharing Blessing Banners for the benefit of all beings. These banners are potent expressions of the children’s vibrant and quite clear intentions. Teens at Konawaena High School are learning textile arts and brushwork from teachers like multi-media artist Ellen Crocker, a master of the Japanese rozome method, and Michelle Obregon, digital media and community arts instructor, to add to the ArtWavEs Exhibit. Already featuring the work of students from Kahakai and Kealakehe Elementary Schools, the environmental display will show an array of styles from all age groups and folk art qualities together with technical precision. Apart from the Blessing Banners project, Feed the Children Kona has served more than 2,000 meals and has provided dozens of art and learning programs to at-risk individuals and food-insecure families in Hawai‘i. Feed the Children Kona members, including doctors, educators, artists, health professionals, mothers, grandfathers, sisters, and uncles have come to understand there is a probability that one in five children on Hawai‘i Island goes to bed hungry every night. Some live in the backs of cars or in tents in the jungle. These children face food insecurity as a daily event. The members’ concern is that if the bodies of these kids and their brains don’t receive essential nutrients, they may never reach their full potential. A guiding principle of Feed the Children Kona’s leadership is that the world evolves in the direction its inhabitants choose. By serving children with balanced food and arts-based whole-brain education, the members help keiki and teens to help themselves. Feed the Children Kona believes that saving even one child through superfoods, living arts, and technical training contributes to a global movement of empathetic sharing and positive arts that are the only real foundations for a healthy future. How AWEsome is that? For those who would like to help children “paint their own reality” and make ArtWavEs that nourish the children and future generations, donations may be made at Gofundme.com/cr3wt9fs. Feed the Children Kona: Facebook.com/feedthechildrenkona


Lower Puna’s Historic Catholic Churches | By Denise Laitinen

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rom the outside, the Star of the Sea, a modest green church sitting on the side of the road in Kaimū looks unassuming. It is simple in design, small in size, and its paint is peeling. Just as an oyster’s plain shell hides a lustrous pearl within, so too does Star of the Sea Church. To step inside this house of worship is to step into a jewel of a building rich in history, culture, and color. Here stain glass windows featuring the images of Father Damien and Mother Marianne Cope sparkle in the sun. Murals and paintings depicting Bible scenes, Kalapana’s history, and local legends encompass nearly every square inch of the church’s interior. Star of the Sea Church is important for a variety of reasons. One of the few buildings to survive the lava flow that destroyed Kalapana in 1990 (thanks to the efforts of several community members), it is also one of the few remaining examples of folk art by Father Evarist Gielen. After arriving in Puna in 1927, Belgian missionary priest Father Evarist Gielen, or Father Evarist as he is still referred to locally, embarked on a building spree. Assigned to Sacred Heart Church in Pāhoa, he built the church and a rectory at its current location in the heart of downtown Pāhoa (the church had previously been located further away on Pāhoa Village Road.) Father Damien DeVeuster is credited with building the first thatched church in Kapa‘ahu, a few miles from Kalapana, after the Belgian native arrived on Hawai‘i Island as a newly ordained priest in 1864. During his time in Puna, Father Damien is said

to have built several chapels, all made from materials he found nearby, such as bamboo, pili grass, and coconut fronds. [After leaving Hawai‘i Island, Father Damien travelled to Moloka‘i where his work with patients of Hansen’s disease—or leprosy—resulted in him being canonized as Saint Damien in 2009.] Once Sacred Heart Church and its rectory were completed, Father Evarist set about building a more permanent church for residents in Kalapana. With a small budget he bought land near the shoreline in the heart of Kalapana, about a half-mile down the coast from where Uncle Robert’s market is now. Using lumber left over from Sacred Heart church and with the help of nearby residents, Father Evarist built Star of the Sea church, a gymnasium, and a small house in about seven months. With construction completed, the priest set about painting murals of Bible scenes on the church’s ceiling. Working at night by Community members moving Star of the Sea Church in the face of advancing lava. photo courtesy USGS


the light of a kerosene lantern, it took him four-and-a-half months to complete the murals. On April 19, 1931, the church was formally dedicated and named Star of the Sea, because of the important role the ocean played in the lives of Kalapana residents. “Star of the Sea was built as a mission church for Sacred Heart,” says Bernice Walker, who was born and raised in Kalapana. Bernice grew up attending Star of the Sea and now works as the secretary for Sacred Heart. Both Sacred Heart and Star of the Sea churches played pivotal roles in the community. According to George Salazar, a long time member of Sacred Heart church, a community hall used to stand fronting Pāhoa Village Road, where the parking lot for the Montessori school is today, and was a frequent site of weddings and community events. The churches provided activities for kids and adults with youth groups as well as a Society of the Sacred Heart for women. During the 1930s in Kalapana, Father Evarist organized basketball and volleyball teams for both boys and girls with teams competing against groups as far away as Honoka‘a. In addition to being a community hub, Star of the Sea also attracted other painters. During the early 1960s, Georgia artist George Heidler met Father McGinn, who was in charge of Sacred Heart at the time. At McGinn’s invitation Heidler created 14 Stations of the Cross from koa wood and painted the lower walls of Star of the Sea church. Indeed, many online sites erroneously give Heidler as much credit as Father Evarist when discussing the historic church.

Statue of Jesus on the front lawn of Sacred Heart Church overlooking downtown Pāhoa. photo by Denise Laitinen

However, the original artist was apparently unimpressed with Heidler’s work. In the spring of 1975, Father Evarist revisited Kalapana and spent three months repainting and touching up the murals he had created 45 year earlier. “When Father Evarist came back he painted over a lot of what George Heidler did,” says Bernice. A couple years later, Hilo artist George Lorch was invited to add artwork to the church walls. Lorch painted several scenes, including one of Father Damien’s first church in Kalapana, and wrote verses in Hawaiian that can still be seen on the church walls.

November–December 2015

Interior of Star of the Sea Church

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George Salazar is a long-time member of Sacred Heart Church in Pāhoa. Bernice Walker, grew up attending Star of the Sea Church and now works as the secretary at Sacred Heart.

The 1970s were a key time for the church in other respects as well. In 1977, lava from Kīlauea’s east rift zone threatened Kalapana. At the time, volcanologists advised church officials to move Star of the Sea. Fortunately, the lava stopped 3,400 feet from the structure and the church remained in place. During this period, both parishes were thriving. The development of several area subdivisions, including Hawaiian Paradise Park, Leilani Estates, Hawaiian Beaches, and Ainaloa started to increase, as did the size of the congregations. Both churches received new roofs and other improvements, such as stained glass windows. Sacred Heart Church was expanded to make more seats available during mass and a portico was added to the front. Even when the sugar plantations packed up and moved away, the churches remained an important part of the community. The plain wooden structure of Star of the Sea, however, proved to be no match for Mother Nature. In May 1990 lava once again threatened Kalapana. Again, the issue of whether or not to move the church was raised. Recalling that time, Bernice says parishioners were at odds on the issue. “It [the congregation] was very divided on whether to move the church or not move it,” she says. “What led to it moving was that there was free help.” With the approval of Bishop Ferrario of the Honolulu Archdiocese, community members moved the church themselves on a flatbed truck. “Parishioners from Pāhoa and Kalapana were the ones that shored the building up, braced it, and put it on the trailer,” adds

Bernice. At the time, parishioners weren’t even sure where the church would end up; the focus was just to get it out of harm’s way. The church remained at a temporary location for a few years until church officials could negotiate a permanent site for it. The altar from Star of the Sea was moved to Sacred Heart church and many parishioners, themselves displaced by the lava, started attending the Pāhoa church. Star of the Sea was eventually moved to its current location in Kaimū, near Kalapana, on Highway 130 between the 19 and 20 mile markers. A retrospective booklet on the history of both churches quotes Agnes Kaawaloa as saying, “as the Church was being lowered to solid ground a rainbow formed right above the church. Me, my husband [Edmund], and Luella Pe‘a all witnessed this rainbow. This occurrence was interpreted to mean ‘put the church there… she belongs there.’” Because the church was moved from its original site and its holy relics were removed, the Honolulu Archdiocese officially decommissioned the church in 1995. Mass and even weddings are still held at Star of the Sea, although any services now require permission from the Bishop of the Honolulu Archdiocese. Services were held sporadically after the church was moved and for the past eight years a Mass has been held at Star of the Sea on the first Friday of every month at 4pm. Since it was moved to its current location, Star of the Sea has been cared for by a small group of individuals known as the Kalapana Ohana Association, (KOA), a 501(c) 3 nonprofit group. The group relies entirely on donations to keep the church doors open so that residents and visitors alike can enjoy the beauty of the church. In 1997, the church was added to the National Register of Historic Places in order to help with its preservation. Rosana Kanoa is one of the members of the Kalapana Ohana Association. She’s been active in the church since her company, Big Island Processing, set up shop in 2005 across the street from Star of the Sea. At the time, she noticed the church lawn was not being maintained. Rosana became more and more involved in the church and even paid $3,000 needed for the church’s liability insurance. Pancho Aldana, who also works at Big Island Processing, is the de facto caretaker of the church, ensuring that the church is open to the public every day between 9am–4pm. “Many people come from different countries to see the paintings, and especially from Belgium,” says Pancho, a reference to the Belgian heritage of Saint Damien and Father Evarist. “The paintings can’t be replaced,” adds Rosana.

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Sadly, while its parishioners and tourists who stop at the historical site revere the church, it does not receive the same respect from all visitors. “This area has a lot of transient people,” says Rosana. Although the church is locked and gated at night, this local treasure has been subject to vandalism and theft. As caretaker, Pancho is usually the one to discover the unexpected visitors and surprises. Perhaps most painful to the Kalapana Ohana Painting by Hilo artist Association members George Lorch in the 1970s. is the vandalism and theft. One of the­stained glass windows is currently covered with plywood because someone threw a rock through it, says Rosana. Pancho adds that the locked donation box has been broken into multiple times over the years. Given the meager resources of the small church and its reliance on donations from visitors, the thefts hit hard. Kalapana Ohana Association has held several types of fundraisers. Pancho said at one point he was raising and selling

pigs to help pay for the church’s expenses. Currently, the group is looking for a stained glass artist to help them replace the broken window as well as folk artists willing to help restore the frescos. Despite the struggles, the group hopes to keep this gem of a church operating for many years in the future. Before she passed away several years ago, well-known Kalapana resident Emma K. Stone Kauhi summed up the importance of Star of the Sea church. Born in nearby Kapa‘ahu, Emma once told a church historian, “people have told me Kalapana is gone…well, maybe the land is gone, Queen’s bath is gone, the Protestant church is gone, Kaimū’s famous black sand beach is gone.…but we have one more symbol….Star of the Sea Church. That’s one more symbol we are hanging on to. Hopefully we can keep it for a long time.” ❖ Contact writer and photographer Denise Laitinen: Denise@DeniseLaitinen.com Star of the Sea Located on Hwy 130 between the 19 and 20 mile markers. Open every day 9am–4pm. No admission charge, donations are welcome and can be mailed to: Kalapana Ohana Association, PO Box 5026, Hilo, HI 96720 Mass is offered the first Friday of every month at 4pm. 808.965.8202 Sacred Heart Church Mass is offered: Tuesday–Saturday 8am, Saturday at 5pm, and Sunday at 7am, 8:30am, and 10:30am 15-3003 Pāhoa Village Road, Pāhoa 808.965.8202

THE 9th ANNUAL

“HOWLING HOLIDAYS”

KeOlaMagazine.com | November–December 2015

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Featured Cover Photographer: Warren Fintz

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his issue’s cover photographer is 39-yearold Warren Fintz, who says taking pictures is an honor, not just a profession. “I believe that a picture I take of the land or of an event at a certain time captures that moment forever,” he says. “Hopefully it will be a piece of history that can be shared by different generations, allowing older generations to say, ‘this is what Hawai‘i looked like back then.’” As Warren so eloquently expresses on his website, his goal is for each picture to tell a story and “provide a unique portal back in time to the places we are most fond of.” Specializing in fine art landscape portraits, he enjoys taking pictures of everything Hawai‘i Island has to offer. “What do I like about Hawai‘i? What don’t I like!” he says. “There’s so much diversity here. You could be on the top of a mountain and surfing afterward, all on the same day.” His photographs range from glamorous Hawaiian sunsets to delightful stills of Hawaiian wildlife. Warren reports he has lived on the island for more than a decade and it still surprises him. Previously, he lived in California, traveled often and took photographs along the way. Now he’s able to document his everyday adventures without having to travel far from his own backyard. While he loves capturing the powerful allure of the Pacific Ocean, his favorite

subject matter is Pele’s lava, which he describes as the “most captivating, mesmerizing, and awesome subject to photograph.” Warren shares that Peter Lik is one of the photographers who has influenced him the most and he’s even been told some of his work resembles this successful artist. “I met one of Peter’s former gallery floor managers. He told me, ‘you’ve got the eye, like Peter.’ That was a defining moment for me, incredibly inspiring,” Warren says. Having the “eye” for something different is what Warren believes sets him apart from the rest. “I look at things from angles most people tend not to,” he says. “I thrive on taking pictures no one else can, whether it’s in a remote destination or not.” Warren said he hopes to open a co-op or small showroom next year. In the meantime, one may find Warren and his beautiful photographs at the Waimea Mid-Week Farmers’ Market at Pukalani Stables every Wednesday. View Warren’s work: EppixAdventures.com


Worldwide Voyage Hōkūle‘a has departed on the most challenging leg to date: South Africa

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Master navigators Nainoa Thompson and Kalepa Baybayan (from Hawai‘i Island) ready Hōkūle‘a to leave Port Louis, Mauritius.

“Let’s go find Africa. Time to go.” Continuing to navigate using only traditional Polynesian noninstrument wayfinding techniques, Nainoa is guiding Hōkūle‘a to the continent of Africa for the first time in the history of Polynesian voyaging. The sail plan for this leg of the journey includes the possibility for stops in small ports of call along the coast of Africa to ensure the safety of the crew, Nainoa’s first priority. At press time, the plan to dock at Fort Dauphin, Madagascar was canceled due to bad weather. The current plan is to reach Cape Town in mid-November. All photos ©2015 Polynesian Voyaging Society Photo: ‘Ōiwi TV • Photographer: Sam Kapoi

November–December 2015

he crew of the Hōkūle‘a set sail for South Africa, the most ambitious leg of the Mālama Honua Worldwide Voyage yet. This leg of the voyage—navigating the unpredictable and sometimes dangerous Indian Ocean—is a historic first for the Polynesian Voyaging Society. Hōkūle‘a departed Port Louis at 4:20pm October 4, 2015, Mauritius local time (2:20am HST). Nainoa Thompson, president of the Polynesian Voyaging Society, is the captain and pwo (master) navigator for this leg of the journey. He and his crew made preparations while docked in Mauritius over the past two weeks, hosted by Hawai‘i-based Outrigger Resorts—a key sponsor of the Worldwide Voyage. Hōkūle‘a’s crew spent the day of departure dockside at Port Louis, making the final preparations. When all was ready, Nainoa’s direction to the crew was succinct and powerful:

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photo courtesy Nancy Leihulu Durmas

The Men Who Sing KeOlaMagazine.com | November–December 2015

for the

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King

The Merrie Monarchs of Hulihe‘e Palace

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group of men who love music and love to sing Hawaiian songs gathers together on one Sunday each month to sing their hearts out on the lānai at Hulihe‘e Palace in KailuaKona. They have staying power, having been doing it for nearly 40 years. The Merrie Monarchs are named after a beloved Hawaiian King, David Kalākaua, who loved music, especially concert band music, and also composed a number of songs in Hawaiian that remain popular today. He was often called “The Merry Monarch” because he so enjoyed entertainment. Three members of the original group of about 13 or 14 men remain today, including Joe Spencer, the group’s leader since 1976. The story of the Merrie Monarchs is closely tied with that of the Hulihe‘e Palace Band, founded in 1976 by Charles G. “Bud”

| By Karen Valentine

Dant. Bud was a band leader, composer and record producer who worked with famous stars in early radio and TV. He served for a time as producer for Hawaii Calls, the old Hawaiian music radio show, and produced albums for Hawaiian performers such as Alfred Apaka and Melveen Leed. Bud moved to Kailua-Kona to retire in 1975 and right away started looking for something to do in music for Kona. “He came to speak with the Daughters of Hawai‘i at Hulihe‘e Palace,” says Joe Spencer. “His concept was that he could do band concerts here, similar to what King Kalākaua did. Aunty Lei Collins, curator of the palace at that time, encouraged him to go ahead.” Bud emphasized that these concerts would honor the palace, historical Hawaiian music, and the era of the monarchy.


“The highlight of the music would be monarchy-era songs— songs that were either authored by the Hawaiian Ali‘i or honored the Ali‘i,” said Joe. The first concert was held on June 11, 1976, Kamehameha Day. A newspaper clipping from the Honolulu Advertiser announcing the event reads “A main feature of the opening program will be the premiere performance of several of Bud’s arrangements of Hawaiian compositions for concert band.” “There is really no repertoire of Hawaiian music for concert band,” Bud is quoted. “Only a few songs, like Hawai‘i Pono‘ī, have ever been arranged.” Bud goes on to say he arranged 15 Hawaiian songs for the new band. “The Kamehameha Day concert will feature an appearance by ‘Iolani Luahine, the acknowledged first lady of Hawaiian dance.” A 1977 feature story about Bud in West Hawaii Today reads, “He took about six months to pull the band into good enough shape so that it ‘Iolani Luahine at could debut on the first concert, June 11, 1976 Kamehameha Day in June. The band is unique in that it only plays music of the Hawaiian royalty era, songs composed by or about members of the monarchy. However, before he could even start rehearsal, Bud had to write down the songs, as many of them had never been

recorded on paper. He would get people—one of them popular oldtimer Charles K.L. Davis—to sing a song and Bud would write it down. He also had to dig through a lot of old books in which only the words of the songs were written and try to put two and two together. Sometimes the tunes that were written were not recorded correctly, and nobody’s sure exactly how every note goes.” “He wrote the music for each instrument,” says Joe. “The band today, as it exists, uses the same music for their concerts.” Bud Dant died in 1999 at age 92. ‘Iolani Luahine performed a Hawaiian chant blessing to open the first concert. Songs included: Hawai‘i Pono‘ī, the state song and former national anthem written in 1874 by King Kalākaua and Henri Berger, leader of the Royal Hawaiian Band; Overture Kamehameha Waltz written by Charles E. King in 1915; Kalele O Nalani by the Daughters of Hawai‘i; Koni Au Ika Wai by King David Kalākaua; Ku‘u Pua I Paoakalani by Queen Lili‘uokalani; Kona Kai ‘Opua written by Henry Waiau about Kona and also a love story of Liholiho, Kamehameha II; Kaulana Nā Pua written in 1893 by Ellen Prendergast at the request of members of the Royal Hawaiian Band; it was intended to oppose the annexation of Hawai‘i to the United States and support Queen Lili‘uokalani; Ua Like No A Like by Alice Everett, a contemporary of Queen Lili‘uokalani; and Hawai‘i Aloha written in the late 1880s by Reverand Lorenzo Lyons. “After the first concert, [Bud] thought he needed a vocal component in addition to the band,” Joe says. “Somebody suggested he talk to Uncle Donna Kuali‘i, who was promotions

Bud Dant, 1977

An 1880s photo of the Royal Hawaiian Band, organized by King Kalākaua under the leadership of Henry Berger. photo courtesy Hawai‘i State Archives The Merrie Monarchs singing and dancing at Hulihe‘e Palace, 1999


1996 photo courtesy Nadine Ollinger

photo courtesy Nadine Ollinger

Performing at the Royal Order of Kamehameha I fundraiser photo courtesy Peter Gandalera

photo courtesy Peter Gandalera

2007 Donna Kuali‘i, Grace Basque, June Dant, Don Isbell, Joe Spencer

The Kona Choral Society Artistic Director Susan McCreary Duprey

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the group started doing its own repertoire, “we changed our uniform to the powder-blue shirt, white pants, white shoes, and kukui nut lei.” Asked about other monarchy-era songs that the Merrie Monarchs perform, Joe reports, “A song we sing with the band for example is Na Ali‘i, written by Samuel Kuahiwi [1930] about our monarchs. It calls for all of us to come together and honor the Ali‘i of the past. And from Kalākaua’s music, we start always with Hawai‘i Pono‘ī. One of our standard songs has been Koni Au I Ka Wai, another Kalākaua song, and Kokohi by Queen Lili‘uokalani.” One of Joe’s tasks as the leader, he says, was to write the words out in longhand, copied from the music sheets. The ensemble sings in three, four, or five part harmony, depending on the song. “Most of Hawaiian music is based on threepart harmony. During our tenure we have had a number of well-known musicians participate with us, for example ‘Square’ (Joseph) Kalima and his brother Puni. They were part of the Kalima Brothers group. Others were Uncle John A‘una, who played steel guitar at the Hilton, now the Royal Kona Resort. To me, the Merrie Monarchs came from a group of men that just liked to sing Hawaiian songs. That is the premise on which we organized. There is no formal training. Everyone brought what he knew and we put it together. We always kept uppermost in mind that Hulihe‘e Palace was an important part of our history and through our singing we could perpetuate that.” Today he says there are a total of 16 to 18 men, not all of them active. They hold weekly rehearsals in the Keauhou Shopping Center maintenance shop, where Joe worked before retiring from Bishop Estate (Kamehameha Investment Corp). The Merrie Monarchs Men’s Hawaiian Glee Club has produced two albums, “The Merrie Monarchs at Keauhou Bay” and “Christmas in Kailua-Kona,” which they sell at their concerts. Each “Afternoon at Hulihe‘e” concert honors one of Hawai‘i’s past monarchs or historical

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manager for Aloha Airlines. Uncle Donna said ʻWell, there is a group of local boys. We have a club here in Kona called the Civitan Club.’ Uncle Donna brought the proposal to us and we said, ʻYes, why not?,’” says Joe, who was a member of that club. “Then Uncle Donna looked at me and said, ‘Youʻre going to be the leader. I said, ‘Uncle Donna, I don’t have any music background. I can sing, thatʻs all.’ He says, ‘That’s all right, youʻre going to do it.’ So we did it and that’s where it started. Bud gave us the name.” The Merrie Monarchs Hawaiian Men’s Glee Club joined the second official concert in July 1976. Joe estimates the first group consisted of 13 or 14 members. The only woman singing with the band, he says, was Grace Basque, a lyric soprano. “She sang with the waltzes and also performed as part of the original hula troupe, doing the kahiko hula portion at the concerts. She and several others danced with Aunty ‘Iolani Luahine.” The group has continued ever since with monthly concerts on the ocean lānai at Hullihe‘e Palace. They sing for the love of the music; there is no charge. “Our intent is to perpetuate the monarchy era music and also our Hawaiian culture. Next year will be our 40th year,” Joe says. “After a time, Bud suggested that we do some tunes with our own instruments, our ‘ukulele. Then later he told us, ‘What I’d like to see is that you folks take some of the concerts on your own and do a hula concert.’ So we did that with Kumu Etua Lopez and his hālau. Starting in 1991, we performed music with ‘auana hula. We would sing first with the band, then do our own interpretations with Hawaiian music.” In alignment with the formal and historic nature of the concert, the attire of the band members consists of all-white pants and shirts with red cummerbunds. “We wore black pants and white safari shirts with our insignia at first,” says Joe. When

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photo by Renée Robinson

figures. They are held on the third Sunday of each month, except for Hawaiian holidays that honor Ali‘i, such as Kamehamehaʻs birthday, Kalākaua’s birthday, and the birthday of Governor Kuakini, who built the palace as his mansion in 1838. Admission is free—donations are appreciated. It is recommended that you bring a beach mat or chair as seating is not provided. “We also perform at functions outside the palace. It’s a voluntary thing, with nobody getting paid,” Joe says. The Merrie Monarchs have represented the Hawai‘i Visitors Bureau during several trips to visitor industry conferences on the mainland; they have offered free concerts for the annual Merrie Monarch Festival in Hilo, and also at palace fundraisers. “There is turnover from time to time,” Joe said. “A number have passed on and new ones come in. As long as they like to sing Hawaiian music, we’re open to having them come and participate. We become tightly knit in our music.” ❖ Contact Joe Spencer: jks@josephkspencer.com Contact writer Karen Valentine: karenvalentine808@gmail.com


UPCOMING HULIHE‘E PALACE CONCERT DATES: Sunday, November 15—Celebrating King Kalākaua’s birthday, remembering Aunty Lei Collins and Charles “Bud” Dant Sunday, December 20—Celebrating Princess Bernice Pauahi Bishop June 2016—100-year anniversary of Hulihe‘e Palace and the 40-year anniversary of the Merrie Monarchs

Current roster of the Merrie Monarch Men’s Glee Club, including the year each joined, and their other public music activities.

Bud Dant

Alan Hale (2006)....................................................... Teaches ukulele; plays in a group at Akule Supply Restaurant on Keauhou Bay. Chauncey Wong Yuen (1994)................................... Part of the promotion team team for Hawaiian Airlines for many years. Donna Kuali‘i (1976)................................................. Hawaiian music entertainer for many years. Francis Lee (1992) Grant Kobayashi (2003) Harold “Ollie” Olinger (1994) Henry Chapman (1986) Herb Deaguiar (1992) Joe Spencer (1976) Micah Deaguiar (2002)............................................. Music instructor, “a rising talent in Hawaiian falsetto” says Joe Spencer. Peter Gandalera (1992) Reginald Davis (2012) ............................................. Professional entertainer, host of the Royal Kona Resort lū‘au. Robert “Kona Bob” Stoffer (2005)........................ Steel guitarist, and instrument maker. Robert Nishida (1996).............................................. Local guitarist, an entertainer at Mauna Lani Resort. Rupert Adarme (2011)............................................... Local entertainer with groups such as Island Breeze and others. William Kaopuiki (1992)

KeOlaMagazine.com | November–December 2015

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Crossword Puzzle | By Myles Mellor

This page is for Ke Ola readers to have FUN while learning about the Hawaiian culture and this wonderful island we call home. Some answers are in English, some are in Hawaiian. Some answers will be found when you read the stories and ads in this issue. Feel free to use the online Hawaiian electronic library.wehewehe.org Oh yes, you can find the answers on page 87. Your feedback is always welcome. HIeditor@keolamagazine.com

DOWN 1 Hawaiian word for awe 2 Abbreviation for an annual event which stresses the importance of conservation of Hawaiian waters and sea life 3 Have some butterfish, for example 5 Plain and simple and related to the country 6 _____ Luahine, the acknowledged first lady of Hawaiian dance 7 Along with 9 King Kamehameha is regarded as one 12 Hawaiian term for the value of source and well being, 4 words 15 Favoring 16 Self respect 18 Estria ____, founder of the Estria Foundation, transforming public art through “Mele Murals” 20 David ____, the Hawaian King the Merry Monarchs were named after 21 Hawaiian word meaning place or hang 24 R and B singer ____ Green 25 Take off the rind 27 Hawaiian word meaning “The Life,” 2 words 28 Who wrote the mele “Here Indeed is Kona” 29 Spigot 30 Hawaiian word meaning at or beside

KeOlaMagazine.com | November–December 2015

ACROSS 1 Abbreviation for an organization that created 108 Blessing Banners depicting the dreams of kids they are helping 4 Former Hawai‘i State Legislator and Hawai‘i County Councilwoman, _____ Isbell 8 He built the ark in the Bible 10 Sixth note on a musical scale 11 Frequently 13 Hot sauces 14 Vessel made by joining logs or boards 16 “Hawai‘i ____” former national anthem written by King Kalākaua 17 Hawaiian word for “the” 19 Rainbow shape 21 Hawaiian word meaning children 22 Wahine, in English 23 Hawaiian word meaning taboo or prohibition 26 Musical instrument taught by Alan Hale of the Merrie Monarch Men’s Glee Club 28 Beach crawlers 29 Veteran who owns a successful fine art gallery in Hilo, 2 words 31 Yellowfin tuna 32 Hawaiian word meaning path or trail 33 Hawaiian word for chew or munch on 34 Hawaiian word meaning rhythm 35 Hawai‘i district well-known for its historic Churches 36 Hawaiian word for thatching

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Hawi Gallery—Hawi

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| Megan Moseley

hen Richard Bodien first opened the Hawi Gallery in 2011, he had no idea that this self-proclaimed Hawaiian museum would evolve into one of the most unusual shops on Hawai‘i Island. “We started selling stuff people wanted, like ‘ukuleles. From a solitary ‘ukulele, the business has grown into what I think is the best ‘ukulele shop on the island,” he explains. At the time, he had moved from the mainland with his then-wife Lee Bodien to learn more about Hawai‘i, its culture, and its people. “You don’t come to Hawai‘i to get a job; rather you create a job,” he says with sincerity. And that’s just what Richard did, turning his hobby into a way of life. “Here’s the crazy thing; music had always just been a hobby for me,” he explains. “We’re not just a music store, we’re a gallery featuring a range of different items.” His first sale was an ‘ukulele from Big Island Ukulele Company with some Santana mini-bongos. The first sign featured in the gallery was a spray-painted cutout of a baritone ‘ukulele; the image still hangs above the

door today. Now his business is full of distinctive Hawaiiana that he’s collected over the years, featuring everything from vintage Hawaiian aloha shirts to vinyl records featuring music from the 1960s and 1970s. “I have items you can’t find anywhere else in the world,” he says proudly. People love it. “I get Native Hawaiians who come to the gallery from Honolulu. They visit my shop and are just flabbergasted,” he exclaims. “Because this is the stuff they grew up with.” Currently, some of the special items in the shop include a 1920s Paul Summers’ ‘ukulele and a 1940s custom lap steel guitar. According to Richard’s website, the instrument is “Unbelievable. See it to believe it.” Hawi Gallery also features a variety of locally sourced items— books by local authors, instruments by on-island luthiers, and CDs by local musicians—on which Richard prides himself. Anyone interested in playing the ‘ukulele can call Richard for a free lesson. During such instruction one may, according to Richard “discover something about the history and evolution of the ‘ukulele, and also learn to play a little too.” The Hawi Gallery is located in Hawai‘i Island’s Kohala District. In this area, Richard says, “old Hawai‘i is still very much alive.”

November–December 2015

Hawi Gallery 55-3406 Akoni Pule Hwy, Hawi 808.889.1282 store 206.235.1648 cell HawiGallery.com

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Cindy Coats Gallery—Kailua-Kona

C

| Megan Moseley

indy Coats says the one thing that has surprised her as an artist is that she’s never lacking in creativity. “I really haven’t run out of ideas,” she says with a laugh. “If someone told me 10 years ago that I would be painting as much as I have been painting, I wouldn’t have believed them.” Cindy moved to Hawai‘i Island 19 years ago from Albuquerque, New Mexico, where she owned an art studio. She had received her formal training at the Colorado Institute of Art and much of her current work resembles the creative style and technique she acquired while living in the Southwest. “In many of my pieces you’ll see a lot of color,” she explains. The cheerful and vivacious artist first opened her gallery on the island 10 years ago. Since then her art has continued to develop and she now works with an array of mediums including acrylic, pencil, ink, oils, and gouache on masonite. Most of her pieces pop with the colors of turquoise, red, blue, and green. Some of her most popular creations include representations of Pele’s Dream, as well as paintings of her two poi dogs—Cosmo and Stevie Rae—dogs she adopted from the West Hawai‘i Humane Society. She also creates original work for the IRONMAN® competition in Kailua-Kona. Cindy describes her art as “colorful pieces that make people happy. “Nobody walks into the gallery and say they hate the

colors,” she reports.. “People find the colors uplifting and they really respond to them.” Part of her pride and joy as an artist is working at her 300 sq.ft. studio on Ali‘i Drive. Preferring to keep the doors open to welcome visitors to the space, Cindy enjoys providing a place where people can be inspired and can interact with her as an artist. Working with her customers and seeing them respond to her work is what keeps this island artist motivated. “It is very rewarding to know my art is hanging in people’s homes all around the world,” she says. The Cindy Coats Gallery Mon-Sat, 10am–5pm across from the pier on Ali‘i Drive, Kailua-Kona CindyCoats.com

November–December 2015

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Aloha Performing Arts Company Presents

A New Work by APAC Artistic Director Jerry Tracy

December 4 to 20, 2015 Friday & Saturday 7:30 pm Sunday 2:30 pm Adult $22 Senior/Young Adult $20 Children $10 Aloha Theatre, Kainaliu

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“Love Quilt #2” Limited Edition Giclee and Prints available

KeOlaMagazine.com | November–December 2015

APAChawaii.org 808-322-9924

808.329.8385


Hawai‘i Island Farmers Markets Sunday 6am–2pm * Maku‘u Farmers Market, Kea‘au-Pāhoa bypass road.

North

Saturday 8am–2pm * Hawi Farmers Market, North Kohala, across from Post Office and Nakahara Store under the banyans. Saturday 8am–1pm Waimea Town Market at Parker School, 65-1224 Lindsey Rd., Waimea/Kamuela. Saturday 7am–noon Waimea Hawaiian Homestead Farmers Market, 67-1229 Mamalahoa Hwy at Lindsey Rd, Waimea. Behind the post office across from Kahilu Theatre. Fresh locally grown produce, flowers, plants and value added food items, and crafts.

Tuesday and Friday 2–5pm Kekela Farms Organic Farmers Market, 64-604 Mana Rd., Waimea. 100% organic. Wednesday 9am–4pm Waimea Mid-Week Farmer’s Market at Pukalani Stables, site of the Paniolo Museum. Pukalani Road in Waimea.

Sunday 9am–2pm * Farmers Market at Hāmākua Harvest Mamane St below Hwy 19 (in open field) Honoka‘a Local grown produce, live music, weekly educational events, ocean views Sunday 9am–1pm Laupāhoehoe Farmers Market. Next to the Minit Stop on Hwy. 19. Local products. Daily 8am–5pm Pana‘ewa Hawaiian Home Lands Farmers Market, Puainako and Ohuohu Streets by Walmart, Hilo. Sunday, Monday, Tuesday and Thursday 7am–4pm Hilo Farmers Market, corner of Mamo and Kamehameha Ave., downtown Hilo. 30 vendors. Wednesday and Saturday 6am–4pm * Hilo Farmers Market, corner of Mamo and Kamehameha Ave., downtown Hilo. 200 vendors.

Wednesday Evenings 5–9pm Farmers Market Kalapana end of Kalapana-Kopoho Rd, (Rte 137), next to Kalapana Village Cafe. Local grown produce, ono grinds and live music. Saturday 7:30am–4pm Keaukaha Pana‘ewa Farmers Market. Railroad Avenue, across from Home Depot, Hilo. Homegrown produce offered by Hawaiian Homelands lessees. Saturday 8am–noon * Outer SPACE Ho‘olaulea at Uncle Roberts Awa Club, Kalapana Saturday 8am–1pm * Hilo Coffee Mill, 17-995 Volcano Rd., Mountain View (on Hwy. 11 between mile markers 12 and 13).

South

Saturday 7am–noon * Kino‘ole Farmers Market. Kino‘ole Shopping Plaza, 1990 Kino‘ole St., Hilo,

Sunday 6:30am–10am * Volcano Farmers Market, Cooper Center, 1000 Wright Rd., Volcano Village.

Sunday 7am–2pm Pāhoa Village Farmers Market, Luquin’s/Akebono Theater parking lot in Pāhoa.

Saturday and Wednesday 8am–2pm Na‘ālehu Farmers Market, Ace Hardware lawn.

West

Saturday 8am–noon * Keauhou Farmers Market, Keauhou Shopping Center, Keauhou. Saturday 7:30am–10am Waikoloa Village Farmers Market, 68-3625 Paniolo Ave., Waikoloa Community Church parking lot across from Waikoloa Elementary School. Saturday 9am–noon Holualoa Gardens Farmers Market 76-5901 Mamalahoa Hwy, Holualoa Sunday 9am–2pm South Kona Green Market Captain Cook, Amy Greenwell Ethnobotanical Garden Wednesday 8:30am–1pm Kings’ Shops Farmers Market Waikoloa Beach Resort Kohala Coast Wednesday 9am–2pm Ho‘oulu Community Farmers Market, Sheraton Kona Resort at Keauhou Bay Wednesday 2pm-Dark Kona Sunset Farmers Market In front of K-Mart, Makalapua Center Wednesday–Sunday 7am–4pm Kona Village Farmers Market, corner of Ali‘i Drive and Hualālai Rd.

* EBT accepted: KohalaCenter.org/ebt/markets.html Please send info on new markets or changes to sharon@keolamagazine.com

KeOlaMagazine.com | November–December 2015

Saturday 7:30am–2pm Honoka‘a Farmers Market, Mamane St., Honoka‘a, Honoka‘a Trading Co., Old Botelho Bldg.

East

Daily 7am–5pm Kea‘au Village Market, 16-6550 Old Volcano Rd., Kea‘au

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KeOlaMagazine.com | November–December 2015


‘Tis the Season to Celebrate | By Sonia R. Martinez

I

n Hawai‘i, as everywhere else I have lived, the holidays are a time of celebration and entertaining. Opening our homes to guests is always a daunting experience; I have found, however, that by keeping the menu simple, limiting the number of guests (a few) and the number of parties I host (two or three), the events can be enjoyable instead of an ordeal. This is particularly true since I can use the same decorations and menu each time. Here is my approach: my rule of thumb for a “mixing party,” rather than a sit down dinner, is to serve a few simple appetizers: three is a good number. I create a cheese, fruit and nuts tray, prepare one spectacular dessert, and either wine, champagne, a fruit punch or a bowl of eggnog. Then I am set to go. The cheese board features three different cheeses (one soft, one blue and one hard cheese); three different types of fruit (for example pears, apples and figs); and three types of nuts (toasted macadamia, almonds, filberts, pecans, etc.). The cheese tray can also contain a small pitcher or bowl of local honey to serve dribbled over cheese (so good!) or a reduced Balsamic vinegar to dribble over the fruit, or both! For the “spectacular dessert” component for the holidays this year, I went back many years to a time when I owned a cooking school in South Carolina. One of our visiting teachers taught a class on “Easy Entertaining,” in the course of which she introduced a recipe for “Pineapple Charlotte.” This special dish consisted of crushed pineapple, egg, sugar, butter, whipped cream, and chopped nuts, all encased in layers of soft, cake-like lady fingers. Delicious!

Pineapple Macadamia Charlotte Russe with Liliko‘i Coulis

Charlotte 1 pineapple 1 stick sweet butter, room temperature 1/2 C granulated sugar 1 tsp vanilla extract 1 C macadamia nuts, chopped and toasted 1 (8 ounce) container whipping cream 1/2 C confectioners’ sugar 1 package soft ladyfingers (*) (*) If no ladyfingers are available, pound cake, cut in thin strips will do.

Coulis 2 C fresh liliko‘i juice (15–20 passionfruit cut in half, pulp and juice scooped out) 2 C granulated sugar In a medium, non-reactive saucepan, combine liliko‘i pulp, juice (straining the seeds if you prefer), and sugar. Bring to a boil over medium-high heat and simmer for about 20 minutes to reduce by almost half; if you want the syrup to be denser, then simmer a bit longer. Set aside to cool. Pour into a plastic squirt container and refrigerate until needed. If making one large charlotte, use a glass trifle or other bowl with high sides and layer the ladyfingers on the bottom and sides (if desired); then add the pineapple filling and dribbles of the coulis until all is used. Top with a scattering of the macadamia nuts. For our dessert, I decided to make individual stand-alone charlottes and spooned the pineapple mix carefully to the top in several small vegetable cans, washed and saved for the purpose. Place in the freezer until frozen. For this batch I used three 8-ounce cans. When ready to plate your dessert, squirt some of the coulis off-center of plate, take the cans out of freezer, cut the bottom open, push the pineapple mix out of the can and place in center of plate. Line the outside of the frozen pineapple mix with ladyfingers—if ladyfingers are longer than the radius of the can, cut them to size and use the cut end on the bottom of the charlotte. Tie with a small decorative ribbon and bow, sprinkle with the leftover chopped and toasted macadamia nuts and a small dribble of the coulis. If you have room, keep in refrigerator, plated, until ready to serve; if not, plate at the last minute. Contact writer Sonia R. Martinez: SoniaTastesHawaii.com

KeOlaMagazine.com | November–December 2015

The classical term Charlotte Russe (‘shär-lət) refers to a dessert consisting of custard enclosed in sponge cake or a casing of ladyfingers; a “charlotte,” is any type of dessert or trifle that can be served hot or cold. It may also be known as an “ice-box cake.” To begin to prepare this dish, bread, sponge cake or biscuits/ cookies can be used to line a mold, which is then filled with a fruit purée or custard. Since living in Hawai‘i, I use fresh pineapple instead of a can of crushed pineapple in the original recipe.

Place a stainless steel bowl and whisk or beaters in the freezer to get them very cold for whipping the cream. Keep them there until ready to use. Peel and cut pineapple into small pieces and place in blender or food processor; give the machine a few short on and off whirls—you want to ‘crush,’ not liquefy, the pineapple. Place the ‘crushed’ pineapple in a fine mesh colander and drain as much as possible without drying it too much. Cream butter and sugar, and blend into the crushed pineapple; add vanilla and mix. Add most of the chopped and toasted macadamia nuts, save a few for garnishing. For making the whipped cream, take the bowl, whisk and beaters out of freezer; add the confectioners’ sugar and then pour in the cream; beat until doubled and soft peaks form. Carefully fold into the pineapple mix.

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Hawai‘i Island Happenings

Wondering what’s happening around Hawai‘i Island? Visit these businesses and organizations websites for the most up-to-date event calendars.

Konaweb

KonaWeb.com shirley@konaweb.com Shirley Stoffer, 808.345.2627

Hawai‘i The Big Island

BigIsland.org calendar@bigisland.org Sherry Bracken, 808.334.1521

InBigIsland

InBigIsland.com tony@inbigisland.com 808.333.6936

Quick Eventz

QuickEventz.com info@quikeventz.com

Akebono Theater–Pāhoa

Facebook.com/AkebonoTheater 808.965.9990

Aloha Theatre–Kainaliu Aloha Performing Arts Company ApacHawaii.org info@apachawaii.org 808.322.9924

Amy B.H. Greenwell Ethnobotanical Garden

BishopMuseum.org/greenwell pvandyke@bishopmuseum.org Peter Van Dyke, 808.323.3318

Basically Books

BasicallyBooks.com bbinfo@hawaiiantel.net 808.961.0144

Donkey Mill Art Center

DonkeyMillArtCenter.org 808.322.3362

Downtown Hilo Improvement Association DowntownHilo.com 808.935.8850

Food Hub Kohala

FoodHubKohala.org karla@andreadean.com Karla Heath, 808.224.1404

Friends of NELHA

FriendsOfNelha.org 808.329.8073

Hawai‘i Homegrown Food Network

‘Imiloa Astronomy Center of Hawai‘i

Hawaii Museum of Contemporary Art/ EHCC

Kahilu Theatre–Waimea

HawaiiHomeGrown.net editor@hawaiihomegrown.net

EHCC.org arts@ehcc.org 808.961.5711

Hawai‘i Volcanoes National Park Volcano Art Center VolcanoArtCenter.org julie@volcanoartcenter.org Julie Callahan, 808.967.8222

Holualoa Village Association HolualoaHawaii.com

ImiloaHawaii.org vrecinto@imiloahawaii.org 808.969.9703 KahiluTheatre.org 808.885.6868

Kailua Village Business Improvement District HistoricKailuaVillage.com kailuavillage@gmail.com 808.326.7820

Kalani Oceanside Retreat Kalani.com 808.965.0468

Honoka‘a People’s Theatre

KAMA Hawaii Keiki Guide

Hulihe‘e Palace

Kona Historical Society

HonokaaPeople.com hpt@honokaapeople.com 808.775.0000

DaughtersOfHawaii.org info@daughtersofhawaii.org 808.329.1877

KamaHawaii.com KAMAHawaii@hawaii.rr.com 808.987.3302 KonaHistorical.org khs@konahistorical.org 808.323.3222


Hawai‘i Island Happenings

Wondering what’s happening around Hawai‘i Island? Visit these businesses and organizations websites for the most up-to-date event calendars.

Kona Choral Society

KonaChoralSociety.org 808.334.9880

Kona Stories Bookstore KonaStories.com ks@konastories.com 808.324.0350

Lyman Museum

LymanMuseum.org ebenton@lymanmuseum.org Emily Benton, 808.935.5021

Nā Wai Iwi Ola (NWIO) Foundation NaWaiIwiOla.org kumukealaching@nawaiiwiola.org Kumu Keala Ching

North Kohala Community Resource Center NorthKohala.org info@northkohala.org 808.889.5523

Palace Theatre–Hilo HiloPalace.com info@hilopalace.com 808.934.7010

Society for Kona’s Education & Art (SKEA) Skea.org 808.328.9392

UH Hilo Performing Arts Center ArtsCenter.uhh.hawaii.edu artscenter@hawaii.edu 808.974.7310

Waimea Community Theatre

WaimeaCommunityTheatre.org 808.885.5818

West Hawaii Dance Theatre and Academy Whdt.org vh2dns4@ilhawaii.net Virginia Holte, 808.329.8876

One Island Sustainable Living Center One-Island.org/hawaii hawaii@one-island.org 808.328.2452

Resort and Shopping Center Cultural Events Log onto websites for event calendars

Keauhou Shopping Center KeauhouVillageShops.com 808.322.3000

The Shops at Mauna Lani

ShopsAtMaunaLani.com/events.html 808.885.9501

Kingsʻ Shops–Waikoloa KingsShops.com 808.886.8811

CROSSWORD SOLUTION

Kona Commons Shopping Center KonaCommons.com 808.334.0005

Kona International Marketplace KonaInternationalMarket.com 808.329.6262

Prince Kuhio Plaza

PrinceKuhioPlaza.com/events 808.959.3555

Queens’ MarketPlace–Waikoloa QueensMarketplace.net 808.886.8822

The Hilo Orchid Show is Moving!

June 3-5, 2016

Edith Kanaka`ole Stadium

KeOlaMagazine.com | November–December 2015

www.hiloorchidsociety.org

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To submit volunteer information for your nonprofit, kokua@keolamagazine.com

AdvoCATS

Methodist Church Palani, Kailua-Kona 3rd Saturday, 10am Trap, neuter, spay, community education, colony feeding, management. Contact Cathy or Nancy advocatshawaii@aol.org 808.327.3724 AdvocatsHawaii.org

Boys & Girls Club of the Big Island

Hilo, Kea‘au, Pāhoa, Pāhala Oceanview, Hāmākua Monday–Friday, 2:30–5pm Volunteers needed for after-school youth programs 808.961.5536 Bgcbi.com

Calabash Cousins

Hulihe‘e Palace Grounds, Kailua-Kona 2nd Tuesday of the month 1–2:30pm Men and women who support the mission of Daughters of Hawai‘i. Contact Sabine Andresen ccousinskona@gmail.com 808.329.9555 CalabashCousinsHawaii.com

CommUNITY cares

KeOlaMagazine.com | November–December 2015

Kailua-Kona Monday–Friday, 9am–5pm Saturday, 9am–2pm Community suffering from cancer, medical hair

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Community Kōkua Volunteer Opportunities

loss, domestic abuse. Contact Tiana Steinberg communitycareshawaii@gmail.com 808.326.2866

Donkey Mill Art Center

Holualoa Holualoa Foundation for Arts and Culture Tuesday–Saturday, 10am–4pm Volunteers help in arts education program. Contact Anne Catlin donkeymill@gmail.com 808.322.3362 DonkeyMillArtCenter.org

Hawaii Museum of Contemporary Art (aka East Hawaii Cultural Council)

Hilo Monday–Friday, 8am–3pm Volunteer in the art galleries, performing arts, classes, workshops, festivals. exec@ehcc.org 808.961.5711 Ehcc.org

Friends of NELHA

Natural Energy Laboratory of Hawai‘i Keahole Kona Monday–Friday, 9am–noon Share Ocean Science/Technology using deep ocean water. 808.329.8073 EnergyFutureHawaii.org

Hamakua Youth Foundation, Inc.

Hamakua Youth Center, Honoka‘a Daily, Mon. Tue. Fri. 2–5:30pm Wed. 1–5:30pm, Thu. 2–8pm Serving Hamakuaʻs school-age kids. Contact T. Mahealani Maiku‘i HamakuaYouthCenter@gmail.com 808.775.0976 HamakuaYouthCenter.wordpress.com

Hawai‘i Island Humane Society

Kona Shelter, Kailua-Kona Monday–Saturday, 9am–5pm Need volunteers 16 or older, parent/child team 6 or older. Contact Bebe Ackerman volunteer@hihs.org 808.217.0154 Hihs.org

Hawai‘i Wildlife Fund

Wai‘ōhinu Coastline, Ka‘ū SE Hawai‘i Island beach cleanups. Ongoing 7:45am Contact Megan Lamson meg.hwf@gmail.com 808.769-7629 WildHawaii.org

Hospice Care

North Hawai‘i Hospice, Waimea Monday–Friday, 8am–4:30pm Care for families facing serious illness.

Use provided contacts for information (Listings provided on a space available basis)

Contact Catrinka Holland volunteer.coordinator@northhawaiihospice.org 808.885.7547 NorthHawaiiHospice.org

‘Imiloa Astronomy Center of Hawai‘i

Hilo Tuesday-Sunday 9am–5pm Assist with tours, shows, education programs and membership. Contact Roxanne Ching rching@imiloahawaii.org 808.969.9704 imiloahawaii.org

Kahalu‘u Bay Education Center

Kahalu‘u Beach, Kailua-Kona Daily 9:30am–4:30pm ReefTeach Volunteers educate visitors on reef etiquette and protection. Contact Rachel Silverman rsilverman@kohalacenter.org 808.887.6411 KahaluuBay.org

Kalani Retreat Center

Kalapana Varied Schedules Seeking volunteers: skilled trades/ maintenance, housekeeping, kitchen, horticulture. Contact Volunteer Office volunteer@kalani.com


To submit volunteer information for your nonprofit, kokua@keolamagazine.com

808.965.7828 Kalani.com/volunteer

Kohala Animal Relocation & Education Service (KARES)

Kamuela/Kona Shopping Area Saturdays and/or Sundays, 11am–4pm Volunteers needed to assist with pet adoption events. Contact: Deborah Cravatta pets@kohalaanimal.org 808.333.6299 KohalaAnimal.org

Kona Choral Society

Kailua-Kona Seeking volunteers for help with box office and ushering at our concerts. Contact John Week info@KonaChoralSociety.org 808.334.9880 KonaChoralSociety.org

Kona Toastmasters

Kailua-Kona 1st and 3rd Tuesdays, 6pm Lynn Bell contact@konatoastmasters.com 808.989.7494 KonaToastMasters.com

Lions Clubs International Various Locations, Kailua-Kona 2nd Tuesday, 5:30pm

Community Kōkua Volunteer Opportunities

“We Serve” is the motto of Lions Clubs International. Contact Lani 808.325.1973 lanika@hawaii.rr.com

Make-A-Wish Hawaii

Ongoing Granting wishes for children with life-threatening medical conditions. info@hawaii.wish.org 808.537.3118 Hawaii.Wish.org

North Kohala Community Resource Center

Kohala Welcome Center, Hawi Daily 9am–noon or noon–3pm Greet people to North Kohala with aloha. Contact Juanita Rivera juanita@northkohala.org 808.889.5523 NorthKohala.org

Paradise Ponies, Carousel of Aloha

Hilo Coffee Mill, Mountain View Ongoing Seeking volunteers to create the Carousel of Aloha Pavilion. Contact Katherine Patton carouselofaloha@gmail.com 808.315.1093 CarouselOfAloha.org

Use provided contacts for information (Listings provided on a space available basis)

Parrots in Paradise Sanctuary

Kealakekua Flexible hours Monday–Friday Sanctuary for displaced parrots. Contact Dorothy Walsh Dorothy@parrotsinparadise.com 808.322.3006 ParrotsInParadise.com

Rainbow Friends Animal Sanctuary

Kurtistown Ongoing Volunteers needed to help care for the animals, repairs and maintenance to the Sanctuary, and help with the office paperwork. Contact Mary Rose mail@rainbowfriends.org 808.982.5110 RainbowFriends.org

Snorkel Day for People with Disabilities Kahalu‘u Beach Park, Kailua-Kona 3rd Friday, 10am–2pm Volunteers needed. Contact Stephanie Kovatch snorkelday@deepandbeyond.org 808.326.4400 x 4017 DeepAndBeyond.org

Soroptimist International Kona

Kailua-Kona Monthly Meetings Enriching the lives of women and girls in our

community for more than 40 years. SIKona.org

Sundayʻs Child Foundation

Kamuela Serving at-risk youth aged 6 to 17 Volunteers needed islandwide. Contact Lauren Rainier requests@sundayschildfoundation.org 877.375.9191 SundaysChildFoundation.org

The Pregnancy Center

Kailua-Kona (serves the entire island) Monday–Friday Volunteers needed and appreciated! Free pregnancy testing, ultra sound, and client support. Contact Matthew Schaetzle, Director tpc@tpckona.com 808.326.2060 TpcKona.com

Therapeutic Horsemanship of Hawaii Kailua-Kona Volunteers are the heart and soul of this program. All levels of expertise needed. Contact Nancy Bloomfield nannygirl@hawaii.rr.com 808.937.7903 ThhKona.org

KeOlaMagazine.com | November–December 2015

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1/2 page (3.5w X 9.75v) Proof 3: 6/1/15.

sign Copyright by MARKETING SOLUTIONS NORTHWEST. All rights reserved.

509) 927-9965

Palace Theater

Talk Story with an Advertiser

| By Meagan Moseley

Morgen Bahurinsky, Executive Director and Wendy Peskin, Board President photo courtesy Ivy Ashe

I

KeOlaMagazine.com | November–December 2015

Unique Rain Forest Segway Tours • 7 Family Friendly Zip Lines • Dual Lines • Thrilling Suspension Bridge World Botanical Gardens • Huge Maze and more

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NEW – Lower admission for kids on our Zip Lines! All the Adventure. All the Fun. All in One Location.

BotanicalWorld.com 808-963-5427 • Toll-Free: 888-Zip-Isle 947-4753

16 miles north of Hilo on Hwy 19 at Mile Marker 16 Open 9:00am – 5:30pm daily.

f you’re from Hawai‘i Island, then you probably already know about Hilo’s historic Palace Theater. Located at 38 Haili Street, the theater is home to an array of performances throughout the year; it is a well-established staple for Hawai‘i Island’s diverse community. In October, the theater celebrated its 90th birthday, an accomplishment that Morgen Bahurinsky, the theater’s Executive Director, describes as “truly outstanding.” “It’s huge. A lot of patrons have expressed their amazement that this place, having been built to be a theater is still being used as a theater today,” she says. The Palace opened in October, 1925 with the silent film “The Son of Zorro,” starring Douglas Fairbanks. Since then, the theater has hosted everything from award-winning films to plays such as “Mary Poppins the Musical,” which concluded a run in October. The Palace will host the “Kalapana Kanikapila” on November 1. This live, free event, features the family and friends of the late Uncle Robert Keli‘iho‘omalu, as part of the theater’s birthday celebration. Part of the appeal of this downtown Hilo establishment is its historic look, which includes a stunning, geometrically designed ceiling and a wide-open gallery. One thing the theater lacks, however, is air-conditioning. To address this need, the theatre board and Morgen are undertaking a campaign to raise funds both for air conditioning units and solar panels. The solar panels are needed to offset the expected additional electricity costs resulting from the air conditioning. The fundraising campaign started in September and has already met with some success. Morgen and her team are looking for more support in order to make their dream a reality. “This is a huge undertaking for which we need the support of the entire community,” she says. Anyone wishing to donate to the “Theater Comfort Campaign” may contact the Palace Theater. Palace Theater 38 Haili Street, Hilo 808.934.7010 HiloPalace.com These stories are special features for our advertisers. If you have a business you would like to have featured, please call 808.327.1711 x1.


Hawaiian Healing Yoga

Talk Story with an Advertiser

LEARN PRIMORDIAL SOUND MEDITATION “Meditation is not a way of making your mind quiet. it’s a way of entering into the quiet that’s already there – buried under the 50,000 thoughts the average person thinks every day.” ~ Deepak Chopra, M.D.

Marlina Lee Chopra Certified Meditation & Yoga Instructor WWW.DAILYMEDS.NET

808-937-0783

marlina@dailymeds.net

M

Hawaiian Healing Yoga 808.325.0889 HawaiianHealingYoga.com Facebook.com/HawaiianHealingYoga

KeOlaMagazine.com | November–December 2015

any island residents may not be aware that tucked away in the rolling hills of Pu‘uanahulu is Hawaiian Healing Yoga, a little gem of a yoga studio. The studio specializes in healing; Yoga Therapy, Day-Retreats, Yoga Teacher Trainings, and more. Owned and operated by Stacey and Dan Lanterman, this beautiful space offers guests a truly unique, Hawai‘i-inspired experience. The studio is a perfect blend of indoor comfort and outdoor charm, set amongst a serene meditation garden and filled with the song of birds. This fully equipped studio is one of a kind. “We want everyone who spends time here to feel supported, cared for, and inspired,” says Stacey. “It has been our pleasure to share our studio with all those who have found us, and we have been deeply touched by the positive feedback we have received.” Stacey, a graduate of the University of Hawai‘i, explains that living on Hawai‘i Island and deepening her yoga/meditation practice over the past 15 years has had a powerful impact on her own life and healing. “I have had the good fortune to meet and work with many wonderful teachers and healers over the years. I continue to learn more all the time about what it takes to be happy, healthy and vibrantly alive. The reason that I love yoga so much is that it touches on every aspect of our lives; body, mind and spirit. Navigating our life paths is not always easy, but yoga offers many tools to help us address the challenges we all face.” Interested in trying yoga? Consider getting a group of friends together for a Private Healing Class, or even booking a DayRetreat. All first time attendees receive a copy of Stacey’s home practice yoga DVD, entitled Feel the Mana. Hawaiian Healing Yoga is offering three 200-hour Yoga Teacher Certification trainings in 2016. The Annual Weekend Training (Feb–Nov) offers working individuals a chance to complete their certification on the first weekend of each month. The spring (Apr–Jun) and fall (Oct–Dec) Intensive Trainings are held on Tuesdays and Thursdays over the course of 10 weeks. Stacey and Dan look forward to meeting you!

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HomesGroup-Hawai‘i

Celebrating a Long Time Advertiser with Ke Ola

KeOlaMagazine.com | November–December 2015

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or nearly 50 years, Bill Sanborn has been in the business of providing “peace of mind.” Bill and his partner, Sue Moss, owners of HomesGroup-Hawai‘i, make sure off-island homeowners don’t have to worry when it comes to the care of their second home. Bill learned about taking care of properties at a young age. Born and raised on O‘ahu, he grew up spending his summers on Kaua‘i at his family’s beach home on Hanalei Bay. “It was a large plantation-style home built by my grandfather, who was the manager for Princeville Ranch,” says Bill. “I spent summers taking care of the property where my father grew up—doing whatever tasks he assigned me.” Bill says he learned from an early age the challenges of taking care of a Hawai‘i property, including having to deal with salty air and tropical weather. He also learned the value of common sense and practical solutions to maintenance concerns. During those youthful summers, Bill developed a passion for real estate and property management that has remained with him ever since. He went on to graduate with a degree in management and real estate. Since 1971, he’s worked in real estate related fields, mortgage banking, and property service industries, and has been a licensed property management broker since 1977. In 1987, Bill and Sue, his partner for nearly 30 years, moved to Waimea where they live in close proximity to many of the resort properties the firm manages. In addition to supporting the Estate Services division of HomesGroup-Hawai‘i, Sue is an interior designer and the principal owner of Trans-Pacific Design. A current member and former national board member of the American Society of Interior Designers, Sue’s design work in the Kohala Coast resorts and residences, in Waimea, and in other areas of the state has received dozens of awards; it has also been featured in numerous magazine articles. With Bill’s real estate and property services experience and Sue’s skills as an interior designer, there’s nothing this dynamic duo can’t handle when it comes to home oversight. Their expertise in assessing, recommending, and handling absentee home owner concerns is widely known and appreciated. Bill explains that HomesGroup-Hawai‘i offers both Estate and Property services to its customers. Estate Services cover things such as home visits to check on homes whose owners are away. This includes a whole list of safety items, such as checking smoke detectors and exhaust/ AC fans, ensuring that fire extinguishers are not past their expiration date, that appliances are in working order, looking for any plumbing leaks, and in particular, following up on specific concerns of the homeowner. The Property Services division of HomesGroup-Hawai‘i handles long-term rentals, serving as the representative of the property owner. This service includes placing tenants, managing their concerns and handling necessary repairs and maintenance. As a Sustainable Hawai‘i State Business Corporation, HomesGroup-Hawai‘i is committed to providing underserved

Sue Moss and Bill Sanborn, Owners

individuals and communities with beneficial services in the provision of rental housing. “We’re a one-stop shop acting as the on-island representative to oversee and care for a person’s residence while they’re away,” says Bill. Clients seek out HomesGroup-Hawai‘i for a variety of reasons. To begin with, there is the professional foundation on which the company has been built. In an industry where many people are not credentialed, HomesGroup-Hawai‘i is licensed, bonded, and insured. In addition to their respective career accreditations, Bill and Sue are also long-standing members of the National Association of Residential Property Managers (NARPM) and the Kona-Kohala Chamber of Commerce, where Bill is a former board chair and decade-long board member. Beyond all this, it is the personalized service and attention to detail that has both customers and professional real estate agents referring friends, family, clients, and new purchasers to HomesGroup-Hawai‘i. Jan and Mick Madden, one of their clients, says, “We appreciate how Bill and Sue handle themselves in caring for our property.” When not busy managing their businesses, Bill and Sue are active in the community. The couple is involved in many organizations, including those mentioned above, as well as the Waimea Preservation Association, and the Rotary Club of North Hawai‘i. Bill and Sue are happy to talk with any homeowner interested in their services. HomesGroup-Hawai‘i PO Box 190, Kamuela 96743 808.895.1122 HomesGroupHawaii.com


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KeOlaMagazine.com | November–December 2015

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Ka Puana–The Refrain

KeOlaMagazine.com | November–December 2015

The Wisdom Project is the product of discussions held on a continuing basis since 2006 about topics at the heart of the human condition. Participants in the discussions came from all walks of life. Topics include meaning, the self, the ego, consciousness, feelings, rationality, being open, beliefs, enlightenment, spirituality. While the book is designed to generate creative thinking, more importantly its purpose is to move the reader to engage in meaningful, ongoing conversations about these issues central to our humanity. Although many of the themes discussed in the book appear to be lofty, the undercurrent of the book is that enlightenment need not be located in lofty realms accessible by only a few, enlightenment can be found in the ordinary aspects of what are wrongly considered to be ordinary lives.

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Although from time to time we have intense feelings in isolation, in solitude, a momentary epiphany comes to mind, most of our feelings are involved with our connections with others. Even though you can feel deeply about animals, the earth, the cosmos, whatever you regard as belonging to you or you belong to, other people generally elicit the strongest feelings. And yet, ironically and often tragically, most of us cannot adequately express our feelings toward those closest to us, our friends, acquaintances and, yes, even loved ones. Consequently, our feelings often get misdirected. We feel deeply about starving children in Africa, we weep in the presence of a charismatic leader, we become furious when a piece of legislation over which we have no control gets enacted. Guilt plays a prominent role in misdirected emotion. We donate to charities, do volunteer work, march with a sign proclaiming our solidarity with a cause. Does misdirected emotion reflect the inability to confront our own emotional failures? Turgid terrain, all those past ego dramas that create our reactive patterns, all those expectations and anticipations. Weighty, and the way to unload the weight may be to get off the scale, the need to get something out of our interactions. Ask yourself, how much do anticipation and expectation weigh on you? Let go of them and find out. Spiritual Practice #4: Relax Relax your facial muscles, your jaw, your eyes. Relax your mind. Our interactions, no matter how seemingly trivial, are significant ceremonies and rituals. A handshake can transform two into one. Unfortunately, due to our self preoccupation we mostly go through the motions with no feeling, no awareness, failing to experience the meaningfulness of the ritual. When you are able to see that the great mystery is not God, not the

Author William Helbing is a Pa‘auilo resident. These excerpts are used with permission.

The Wisdom Project discussions meet every Wednesday from 5:30–7:00pm at the North Hawai‘i Education and Research Center in Honoka‘a on the Hāmākua Coast of Hawai‘i Island. About William William Helbing lives in Pa‘auilo, Hawai‘i and continues to investigate the reasons for his being anywhere. Despite having a philosophical background he has managed to survive in a world where everyone appears to know more than he does. His interests range from waking up and going to sleep and all that happens between. Contact author William Helbing: AWealthOfWisdom.com/william-helbing

universe, not any of the big ideas you might invoke, the mystery is your ordinary life, in all the moments you live it, a door opens. Through that open door is the awareness that produces creative civility. Feel without creating the drama, dance the dance. All you have to lose is the baggage you don’t need because you aren’t going anywhere. You are already there. When you are walking down the street in your city or town, or in the mall, a store, or office, look at the people around you. How many do you see smiling? Probably not many, if any. Most of the time we walk around in our solitary confinements, stewing in our juices, or seriously rigid. Smile, it’s a gift to the world, including yours. No effort required, a smile clears the air, thaws the ice, allows people to actually see each other. There is no space between smiles, with smiles the space collapses, disappears. Two become one. Two ways to feel the rain: 1. I’m getting soaked, I wish it would stop, I have an appointment to get to and I’ll be a mess. The personal drama of annoyance. 2. Dance with it. Follow the rain, it will show you the way. Oftentimes it’s not how we feel or what we feel that is of concern, it’s what we fail to feel. Here’s one feeling you avoid that gets to the heart of the human condition. There is an uneasiness, an insecurity, that all your beliefs, opinions, theories, and all of your efforts to control are inadequate. In the end, they will fail to do what you expect them to do. Ultimately, your ego cannot live up to all of its self promotional hype. Behind your entrenched sense of self lies emptiness. Follow this recognition; feel that uneasiness, it leads to liberation. Emptiness is the source of creation, where new possibilities present themselves. The Wisdom Project is available from the author, local bookstores, and the publisher AWealthOfWisdom.com


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Ke Ola: 2015 Nov–Dec  

Ke Ola magazine, Nov–Dec 2015

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